MIKE GRIFFIN: Our products are made in America, and we can do custom orders in two to three weeks, so you know, whatever you would need we have a full complement of different cord-connector configurations like right angle or things like that. Say if you have your component against the back wall, we have right-angle connectors and things like that.

Some of the things that we're doing, for example, we have the individual conductors and the spacing of the conductors is important as far as how we spread out the magnetic field. The other thing is shielding, okay? I don't know if you've ever tried to shield a cable on your music equipment, but the way it's normally executed, you got the conductors, they [SOUNDS LIKE] throw a shield over it, and then they throw a jacket over it. That shield interacts with a magnetic field around the conductors and then it messes it up even more, so we've done -- what we do is we have a jacket around the conductors to space the shield away so it doesn't interfere with the conductors, so that's what goes into the size. It wasn't. you know, I mean, you know, it looks impressive baby but it's really all about the engineering execution of the product.

So this cord is called the AVP-16 because the equivalent gauge it's the 16-gauge. The other one is called AVP-14 because the equivalent gauge is 14-gauge. In fact, you know, that may mean names but if you use, you know, power cables, and this would go for any cables, really. When you start getting higher gauge, the higher the gauge is, inherent in the wire itself is a blurring of the timing of the frequencies is handled different, okay? The bigger the gauge, the more inductance, the higher frequency is going to roll off faster, okay? That's why we went to smaller gauge. The gauge of our wire is smaller than anything that's made commercially that's like 20 gauges as opposed to 18 gauge in the smallest conductor. But in order to handle the current, you got to have more conductors, and that's how we ended up with our multiple coductors.

Now, what we're going to do now is we're going to switch over to a guitar amplifier and show you the performance in a guitar amplifier. To help me, Andreas Kapsalis has come from Chicago, and the short story is we met in June, he was doing a concert in the Chicaco Recording Company, and while Andreas was warming up, I asked him if I could switch the cord on his amp, right? So, you know, he plays for 20, 30 seconds, and then he looks up to me and he says like, “What did you do?” you know, and he has a smile on his face, and you just hear some good things, you know. So, I convinced Andreas to take the cord on the road with him and use it for a while,, you know, he’s been using this since June and going to do two things. Number one, we’re want to show you the performance difference on an instrument amplifier, and then secondly Andreas will tell you what his experience has been using the cord.

We’re going to start out with the amplifier with the stock cord on in, okay? And what Andreas is going to do is going to play a passage of a song, will stop, physically change the cord on the same amp, and play the passage again so you ca hear the difference.

[ANDREAS KAPSALIS PERFORMING A RENDITION OF PINK FLOYD’S “MONEY” ON ACOUSTIC GUITAR RUNNING THROUGH AN AMPLIFIER WITH A STOCK POWER CORD]

[ANDREAS KAPSALIS PERFORMING A RENDITION OF PINK FLOYD’S “MONEY” ON ACOUSTIC GUITAR RUNNING THROUGH AN AMPLIFIER WITH AN ESP POWER CORD]

MIKE GRIFFIN: Did you hear how it just harmonically it’s richer, fuller? You can hear the decays and things like that. It’s just a new level of clarity because of these timing distortion that’s being caused by the cord and the AC and upstream from that is being filtered out by our cord. So that’s what it’s about. The artist especially they’re being exposed to this like we’ve got a couple of posters here. These are artists that, you know, in one case I haven’t even met this guy in person, okay? Just through association, I loaned a cord to him, and just to kind of what it says here, he says, “I switched the original power cord with yours. Wow, what a phenomenal sound! I didn’t touch the EQ on the bass or the amp, and I really got the sound I’ve been subconsciously trying to EQ for years.” What he said was that he’s always thought that his instruments they have a certain sound, there’s some artifacts that he couldn’t get out. When he switched the cord, all of the sudden, you know, he told me in his words finally his instrument could talk with its true voice. That’s what he said. And, you know, for artists to say that, you know. It’s a similar story with Henry Johnson. Now, I have albums of his that I bought in the ‘80s, okay? I’ve known about him for years, and just through association, a friend of mine that writes reviews, okay, he knew Henry, and he got him a cord, Henry liked the cord. The comment he says there, in his own home studio the amp that he uses, normally when he turns it on, he can hear hiss from a distance, okay? As soon as he put our cord on, he said he had to get up to the amp like this to make sure it was on, okay. So now, that’s that noise level, right. It dropped the noise level, the clarity, first thing he’s asked my buddy was could he take it into the studio. He just had the cord for a week, okay? So, you know, I did go to Chicago and meet him a few weeks ago. I mean this is all happening. These people are in the privacy of their own home, doing their own thing, and calling like they see it.