"At first the experience is a bit of a shock. I had all but given up on ever being able to compose music again. All of my attempts utilized the bottom two registers of the piano keyboard, since that is where I hear best. Basement mud...

You immediately begin to notice extremely fine details in the sounds. People with great hearing can hear them too, but they rarely notice them. But coming from a darkened world, the moment I hear these subtleties, I stand up and take notice. They aren't normally a part of my world. Little things, like the sound of fingernails buzzing against the harp strings, or the knuckles knocking against the wooden frame. The pluck has a metallic luster to it that decays rather quickly.

You begin to easily discern the difference between MP3 recordings and high quality Wave files. Poor, or noisy, recordings show themselves, whereas before I was satisfied with just about any recording.

There is a sense of spaciousness that you begin to feel. Looking back, it seems as though my uncorrected hearing put me into a claustrophobic little closet. Now I clearly hear the soundstage and the room effects. The symphony now sounds wide and, well... spacious.

Human voices take on a new quality, especially female voices. I listen, enthralled, to my wife's voice as she speaks softly to me through a recording. I hear her delicate sibillance (measured to be at 10 KHz !!), and the breathiness of her voice. Female singers exhibit fine articulations of pitch and timbre that went entirely unnoticed before.

Percussive strikes are detailed and full of character. I can hear the snap of the bass drums. Attacks have an inner structure to them, not simply a kaboom.

Now that I have helped to create this system, and I use it as often as possible, I never want to be without it. It is an entirely different universe of sound and renews my absolute devotion to the field and love for sound."