We do not see merit in claiming technical innovations when the science has been known and understood for the two centuries since Faraday, Ohm, Maxwell, Hertz, Henry, et al. defined the behavioral patterns of electricity and magnetism and their interactions. Even exotic-sounding "modern" dielectric materials advancements and conductor voltage treatments, etc., can be traced back well over half a century ago.

Our approach to product design is to apply clear logic, establishing the broad spectrum of aims for the product, then evaluating and evolving practices that achieve these aims.

This is accomplished firstly within the fundamental design as evolved by measured performance, but from there on, the product is shaped and evolved through massive sequences of listening tests over a very wide selection of HiFi setups of different technologies and ambition. Listening to how each design decision actually sounds as affected by the enclosure dimensions and materials, the board layout, component values and their technology, materials, etc. Establishing how every individual aspect influences the final sound of the overall design. It is a long and painstaking process from which there is no escaping if you wish to present a world-class product.

We only distribute through specialist outlets with the required skills to guide and assist customers with their purchase and answer normal technical questions relating to usage of our products. In the event that the questions are more uniquely complex, we are always on hand to take over the conversation. Our products are inherently robust and designed for many decades of use. We always stand by our products, with happy users our topmost priority.

This is ever-changing, but to note is that for older material in a digital medium, the earliest versions before the compression of the loudness wars took hold are almost invariably the best. For 60s, 70s, and 80s music on vinyl, seek out older pressings produced with an all-analogue master tape to cutting head sequence with no digital process stages in between. If there is a digital stage employed, as with virtually all vinyl of recent decades, including "audiophile" pressings, you are better off listening to the digital version directly.

Today's choice of three would probably be:

• Joan Armatrading – Me Myself I – AMLH64809 – Dynamics, vocal positioning in the soundstage, and overall imaging
• Tchaikovsky Violin Concerto – Kyung-Wha Chung, LSO – Previn Decca SXL 6493 – Handling of a large orchestra at full belt and the tonal realism in the solo violin passages
• Fleetwood Mac – Tusk K66088 – "Beautiful Child" – Vocals, soundstage, imaging, clarity, realism, and separation of the individual contributions

We need to ensure that our products interface well across the broadest spectrum of components, and we have, for example, in our development room over 20 different amplifiers from Pass Labs Monoblocs, through Krell, Naim, Meridian, Cyrus, Quad, Leak, Sugden, World Audio, Enleum, as well as many speakers and source components.