It's a simple premise: power corrupts. You can buy the finest audio components in the world, but if the foundation of your aural house is rotten, you won't get anything vaguely resembling the level of performance your gear was designed to provide. Over time, I've come to realize just how fragile the audio signal chain is, dependent as it is on electrical sources fatally compromised by all manner of aural schmutz pouring through the local grid. I've become obsessed with figuring out how to liberate my system from the line noise, reactive loads, and voltage anomalies that veil the presentation, obscure resolution, and limit dynamic range.

It's a simple premise: power corrupts. You can buy the finest audio components in the world, but if the foundation of your aural house is rotten, you won't get anything vaguely resembling the level of performance your gear was designed to provide. Over time, I've come to realize just how fragile the audio signal chain is, dependent as it is on electrical sources fatally compromised by all manner of aural schmutz pouring through the local grid. I've become obsessed with figuring out how to liberate my system from the line noise, reactive loads, and voltage anomalies that veil the presentation, obscure resolution, and limit dynamic range.

It's a simple premise: power corrupts. You can buy the finest audio components in the world, but if the foundation of your aural house is rotten, you won't get anything vaguely resembling the level of performance your gear was designed to provide. Over time, I've come to realize just how fragile the audio signal chain is, dependent as it is on electrical sources fatally compromised by all manner of aural schmutz pouring through the local grid. I've become obsessed with figuring out how to liberate my system from the line noise, reactive loads, and voltage anomalies that veil the presentation, obscure resolution, and limit dynamic range.

It's a simple premise: power corrupts. You can buy the finest audio components in the world, but if the foundation of your aural house is rotten, you won't get anything vaguely resembling the level of performance your gear was designed to provide. Over time, I've come to realize just how fragile the audio signal chain is, dependent as it is on electrical sources fatally compromised by all manner of aural schmutz pouring through the local grid. I've become obsessed with figuring out how to liberate my system from the line noise, reactive loads, and voltage anomalies that veil the presentation, obscure resolution, and limit dynamic range.

It's a simple premise: power corrupts. You can buy the finest audio components in the world, but if the foundation of your aural house is rotten, you won't get anything vaguely resembling the level of performance your gear was designed to provide. Over time, I've come to realize just how fragile the audio signal chain is, dependent as it is on electrical sources fatally compromised by all manner of aural schmutz pouring through the local grid. I've become obsessed with figuring out how to liberate my system from the line noise, reactive loads, and voltage anomalies that veil the presentation, obscure resolution, and limit dynamic range.

I've spent six-odd years in a sort of hi-fi counterculture, playing with things like mono cartridges, one-box CD players, and cheap, homemade cables&mdash;and, of course, owning and listening to single-ended triode (SET) amplifiers and horn loudspeakers. But before all that, I owned components that, while more mainstream, did the job just as well in certain ways. That category included solid-state electronics (Naim, BEL, Spectral), dynamic loudspeakers of middling efficiency (ProAc, Epos, Magneplanar), electrostatic loudspeakers of very low efficiency (Stax), and even "high-end" accessories like Tiptoes and <A HREF="http://www.stereophile.com//features/69/">Shun Mook Mpingo discs</A> (which I still have, although my five-year-old daughter has more or less permanently co-opted the latter for playtime use).

I've spent six-odd years in a sort of hi-fi counterculture, playing with things like mono cartridges, one-box CD players, and cheap, homemade cables&mdash;and, of course, owning and listening to single-ended triode (SET) amplifiers and horn loudspeakers. But before all that, I owned components that, while more mainstream, did the job just as well in certain ways. That category included solid-state electronics (Naim, BEL, Spectral), dynamic loudspeakers of middling efficiency (ProAc, Epos, Magneplanar), electrostatic loudspeakers of very low efficiency (Stax), and even "high-end" accessories like Tiptoes and <A HREF="http://www.stereophile.com//features/69/">Shun Mook Mpingo discs</A> (which I still have, although my five-year-old daughter has more or less permanently co-opted the latter for playtime use).

I've spent six-odd years in a sort of hi-fi counterculture, playing with things like mono cartridges, one-box CD players, and cheap, homemade cables&mdash;and, of course, owning and listening to single-ended triode (SET) amplifiers and horn loudspeakers. But before all that, I owned components that, while more mainstream, did the job just as well in certain ways. That category included solid-state electronics (Naim, BEL, Spectral), dynamic loudspeakers of middling efficiency (ProAc, Epos, Magneplanar), electrostatic loudspeakers of very low efficiency (Stax), and even "high-end" accessories like Tiptoes and <A HREF="http://www.stereophile.com//features/69/">Shun Mook Mpingo discs</A> (which I still have, although my five-year-old daughter has more or less permanently co-opted the latter for playtime use).

I've spent six-odd years in a sort of hi-fi counterculture, playing with things like mono cartridges, one-box CD players, and cheap, homemade cables&mdash;and, of course, owning and listening to single-ended triode (SET) amplifiers and horn loudspeakers. But before all that, I owned components that, while more mainstream, did the job just as well in certain ways. That category included solid-state electronics (Naim, BEL, Spectral), dynamic loudspeakers of middling efficiency (ProAc, Epos, Magneplanar), electrostatic loudspeakers of very low efficiency (Stax), and even "high-end" accessories like Tiptoes and <A HREF="http://www.stereophile.com//features/69/">Shun Mook Mpingo discs</A> (which I still have, although my five-year-old daughter has more or less permanently co-opted the latter for playtime use).

I've spent six-odd years in a sort of hi-fi counterculture, playing with things like mono cartridges, one-box CD players, and cheap, homemade cables&mdash;and, of course, owning and listening to single-ended triode (SET) amplifiers and horn loudspeakers. But before all that, I owned components that, while more mainstream, did the job just as well in certain ways. That category included solid-state electronics (Naim, BEL, Spectral), dynamic loudspeakers of middling efficiency (ProAc, Epos, Magneplanar), electrostatic loudspeakers of very low efficiency (Stax), and even "high-end" accessories like Tiptoes and <A HREF="http://www.stereophile.com//features/69/">Shun Mook Mpingo discs</A> (which I still have, although my five-year-old daughter has more or less permanently co-opted the latter for playtime use).