Why do the ratings on the rear panel of amplifiers rarely match what their claimed output power ratings are? Is it possible to produce more watts at the speaker than the wall power can provide?

Some preamp manufacturers insist their use of an inverted output is the right way to go and any products that do not invert are simply not as good. Is that true?

If the goal of high-performance audio is to do as little harm as possible, wouldn’t it make sense to have as few components in the signal path as possible? Makes sense, but Paul explains why that just might be flawed logic.

What types of speakers crossovers are best to use? A 2-way or 3-way crossover? Paul tackles this intriguing question, one that has plagued speaker designers for decades

Many receivers can accept SACD DSD files over HDMI but why can’t high-performance DACs? Are there any that do and if a low-cost mass-market receiver can play DSD files from SACD why not a high-end product like from PS Audio?

We see arrows on interconnects and speaker cables. Why? How could AC signal wires have a direction to them and what does it all mean? We give out our snake award.

Paul’s been an audiophile for longer than many of his listeners have been on the planet. When did he first know the bug had bitten and what was the story of his introduction to high-end audio?

In the US we rely upon 60Hz for our power and in other parts of the world there’s 50Hz and double the wall voltage. If we had our choice what would be the best sounding frequency and voltage for high-end audio?

We hear of balanced and unbalanced audio inputs but what does it mean to be fully balanced? Is it something on the inside of the equipment? Paul explains how it works and why it’s important.

We’re familiar with two-way, three-way, even coaxial single driver speakers, but 2.5-way speakers? What the heck is that? Paul gives us the lowdown on this rare breed of speaker that may just be more marketing than technical.