This is an ADC, DAC and word-clock, manufactured from 2002 to around 2012, and remains well regarded by many recording and mastering engineers. Purchased my first UA2192 in 2007. No USB input, no upsampling, no DSD or SACD capability; it accepts PCM inputs on AES, dual AES, S/PDIF, and Toslink only up to 24/192. Runs as hot as a class A power amplifier due to the designer's discrete output stage. Used AKM DAC chips when most manufacturers were still using Burr-Brown and Analogue Devices. For PCM files I've yet to find a DAC I enjoy as much; that includes the Esoteric D-03 (around four times the price), the Berkeley Alpha DAC Series 2, the MyTek Brooklyn, the Chord QBD76 HDSD, and various others. In fact, despite the 24/192 limitation, a couple of years ago I had designed and built for the UA2192 an elaborate external, linear power supply.

Except for the feet, identical to the Esoteric P-70 (retail US$7500 in 2002). Standard upgrade, 2015, from The Upgrade Company. Esoteric's last Redbook-only transport, purchased used in 2005 and paired with the UA2192 since 2007. Word-clock input enables the P-70 to be synchronized to the master clock in the UA2192. Very hard to get parts now, especially with Teac's change in ownership, but so far still going strong. . .One day, I imagine, all new releases will be available in native high resolution audio files and this brilliant piece of audio engineering will be history, but as of now (late 2017), most of the music I want to buy is available only as MP3, CD and, sometimes, LP.

With its unremarkable cosmetics, the Olympia LXi (MRSP US$21,500) consists of a 7 kg control module (the preamp itself) and a 25 kg power supply. Preamp has 20 dB gain with massive current capability. The power supply includes two 375 VA power transformers, 8 chokes, and eight 10,000 uF capacitors: enough drive a 50 Wpc class A power amplifier. All-FET circuitry; Caddock resistors throughout. Not much else to say except that it seems to combine the warmth of tubes, the resolution of solid-state, and the power and drive of a brick of C4. Also offers 3 pairs of balanced inputs which works very well for my needs.

From the late 1980s. One of the better FM tuners, both in terms of audio quality and RF capability. This one is completely stock and has never even been serviced. For me, radio is essential, but less as a source of music than as a source of in-depth news and documentaries (CBC, BBC, PRI, etc.).

Stock 12-outlet power distribution unit, frequently found in server farms, without any limiting, filtering or protection. Convenient 1 RU size, 20A capacity, 15-ft. captive power cord. All source components are plugged into the PDU-1220; the power amps have their own 20A circuits fed from a three-phase, industrial-type AC supply.

Back-up for the P-70. Supposedly plays high-resolution WAV files recorded on DVD media, though I've never managed to get it to do so.

More accurate, perhaps, than the UA2192, but less musical and involving. Still, a superb component, especially for its price (circa US$2K), and especially when you consider its features: all the standard PCM inputs, plus USB that will handle DSD over PCM; an RCA analogue input configurable as a line-level input or as MM or MC phono; a volume control that enables those who wish it to dispense with a separate preamplifier and a 12VDC input for those who wish to replace the internal switching power supply with a battery or linear power supply. I use an UpTone Audio external linear power supply, though I have not bothered to do enough A-B testing to determine, with certainty, how much, if any, improvement it brings.

4-in, 8-out speaker processor with all the functions typical of modern digital speaker management components: crossover, EQ, delay, etc. In this system used mainly as a simple 6 dB/octave crossover: a 45 Hz low pass for the subwoofers and a 55 Hz high pass for the mains. Also provides delay for the mains as they are placed 10.5 inches in front of the subwoofers.

Meyer Sound's large-format studio monitor, placed in a tall, slim tower of 120 kg, manufactured from 2001 to 2015. Last retail price was around US$35K/pair. Two-way active floor-standing design with proprietary drivers: 15-inch woofer and 1.5 inch exit compression driver with horn. Two internal class H amplifiers provide 1250 watts to the woofer and 625 watts to the horn. Switching power supplies. Almost perfect impulse response, superior even to electrostatics. Frequency response: 23 Hz to 17.5 kHz +/- 2 dB. In its present configuration, it is low-passed at 55 Hz with a very shallow 6 dB/octave slope.

Active subwoofer with 18" driver, ported cabinet, an internal 450 Watt power amplifier. Perfectly complements the X-10T. Does not increase frequency extension of mains, just increases headroom.