The following essay will cover those areas that I deem most important to proper AC line conditioning. It will also serve as the official review of the TG Audio Bybee/Sucker AC filtering system with Bybee Spur, used in conjunction with the finest line level power cord that I have ever been exposed to - the Electra Glide. Together they form a revolutionary step forward in what can be accomplished in AC line conditioning. I never knew it could be this good.

POINT 1. Transformer based isolation devices are basically useless as AC line conditioners. I don’t have to name names, you know who they are, but I’m always amused when manufacturers come out with line conditioners based on a bunch of little transformers in a box. For that matter, I’m always amazed when they come out with big transformers in a box meant for isolation and conditioning of the wall AC. Each one of your electronic components has a transformer inside. It creates DC, which is then stored in the filter caps to be used in making the sound you hear. A little simple in description, but basically that’s what happens in every machine made for audio. It has been my experience that transformers in audio equipment don’t like riding piggy back to other transformers in an AC line filter unless the first transformer is really big - like something you’d find on a power pole, or larger. A manifestation of that is the way that isolation transformers are unable to keep their voltage up the moment something is plugged into them. Usually, the maker of transformer based AC line conditioners will step up the voltage at the socket so that when you plug a component into it the natural drop of a volt or two, or three, or... will end up being about right, 117 volts. But if a preamp is going to cause a voltage drop of 3-5% in many cases, what does that say about the stability of the source? I am of the opinion that most isolation transformers sound dead in a system, and for that reason I do not recommend any of them.

POINT 2. Power amplifiers are generally immune to the workings of outboard line conditioners, but respond very favorably to power cords. That doesn’t seem quite right does it? It has to do with current draw, or so that has been my conclusion after years of dealings with such things. Power amps draw more electricity from the wall than any other component. Some class A amps are capable of drawing over a thousand watts continuously, and for them the ability to drink easily from the wall outlet of life is a necessity. Of the outboard conditioners that I’ve tried, only the Audio Prism ACFX seems not to get in the way of a power hungry amp most of the time. I say "most of the time" because there are some power amplifiers that don’t care for it either.

Don’t be confused by the outlets marked "Amplifier" on some conditioners. Most of those, particularly those on transformer based isolation units, are straight wire connections back to the wall with no form of conditioning whatsoever. Get between an amp and the wall and you are asking for trouble. The ACFX mentioned above is a direct connection to the wall, but it has a field conditioner (ferrite perhaps?) built around the power cord. Even so, there have been some instances where I have noticed a slowing of the sound even with the ACFX.

Power cords are totally different. Not only will an AC line cord strongly affect how a power amps sounds in positive ways, in many cases the outcome of using a particular cord with a particular amp will be predictable. As I’ve said a number of times before, a system can be ruined sonically by using one wrong cord, and nowhere is that more true than with a power amplifier. A reviewer can unwittingly make or break a component with the cord she uses, and many of the discrepancies that one sees in the written reviews of the same component in different magazines can be traced to one reviewer using the right cord, while another reviewer uses the wrong one. Having a wide assortment of power cords available for every component audition is a must for the qualified reviewer. We work very hard on making sure that you don’t have to go guessing when it comes to the right cord to use with every component reviewed.

POINT 3. Outboard AC line conditioners generally come in two flavors - series and parallel. Line conditioners can work even though the electricity going to a component is not actually being drawn through the conditioner itself. The Marigo Apparition is a good example of a parallel line conditioner that works; the Z Stabilizer is another good example. You plug the Marigo into the wall, but you don’t have to plug anything into the Marigo. Once the Marigo is in the circuit, it acts like a grunge magnet that attracts AC line garbage and filters it out through the circuit. The TG Audio Linesucker and VansEvers units work in a similar fashion, though with them there are outlets to plug components into — it’s a convenience thing. These units run parallel to the electrical circuit.

The series line conditioner is like those used in isolation transformers, Bybee units, the Panamax (no transformer), the ACFX, and others. Here the actual current draw is directly through the line filter, and since the component being served is in series with the conditioner, it is called a series conditioner. One cannot predict how effective a conditioner will be based on whether it is a series or parallel device. Both types can work well, both types can stink

POINT 4. Outboard AC line conditioners work best when loaded down with the proper amount of line draw. This one will shake things up a bit. What is the proper amount of line draw for an AC line conditioner? What is line draw? I refer to the amount of wattage being drawn through a conditioner as the line draw. And for reasons not exactly understood at this time, it is an unmitigated reality that some conditioners need to have a certain amount of wattage going through them before they are optimally effective. This was first noticed by BFS while auditioning the Counterpoint PAC-5 and 15 about six years ago.

Having the PAC-5 in the circuit with its numerous outlets, I decided to take advantage of some of those outlets to break-in preamps and CD players while I auditioned another component for review. The effectiveness of the PAC seemed variable and unpredictable as components were put in and out. I then happened to notice in my listening records that I seemed to be happier with the performance of the auditioned piece when I had some other gear breaking-in on the same PAC. So this theory was put to the test, and indeed a component did sound more natural and much more dynamic when the PAC was feeding two or more components at the same time. The only limitation seemed to be not putting too much of a load onboard by the insertion of a power amp, or four or more line level components. Too much was as bad as too little. But when it was just right, everything bloomed while becoming more naturally detailed. The same still holds true, but now I use lightbulbs, and I call it lightbulb biasing.

Actually, I should give credit to Bob Crump of TG Audio for the idea of using lightbulbs instead of any old preamp that just happened to be laying around. His Bybee/Sucker is a combination series/parallel device - it goes both ways. While he was looking for faster and more efficient ways to break-in power cords and suckers, power consuming things such as soldering irons, fans, lightbulbs, and other oddities were used to draw power through the piece being broken-in. At about the same time we both discovered that increasing the power draw while playing would not only shorten break-in time, but that the components plugged into the conditioner sounded better with the additional draw. Fans and irons were obviously unsuitable for this kind of use, so I ended plugging in an extra preamp, while Crump started using lightbulbs. The idea of the lightbulb was clearly the superior one, and when he suggested that I use the same in his Bybee/Sucker and Bybee Spur, it only seemed logical.

This may seem to be the ultimate in voodoo tweakiness (yikes!), but break-in seemed to go more smoothly for the Bybee/Sucker and Spur with the use of a 100 watt bulb in each circuit. Sonics appeared to be similarly improved. Not only did it get to the point where discussions were being had regarding the proper watt bulb to be used, but listening sessions were being held where the systems were being A/B’d with different watt bulbs plugged into the conditioners with the changes in sonics being noted and commented on (and no, it didn’t seem to matter whether one used GE or Sylvania). I don’t care what the other guys say, I still like the sound of the system the best with the two 100 watt bulbs! It all seems kind of funny now, but when I’m serious about a couple of hours with the music, the bulbs go on before hand. Hey, a person needs some good light to read by as he listens, right? Laugh if you will, but it’s a free tweak that has had positive results by those who have used it.

POINT 5. If power line conditioning is to be effective, the cords must be oriented to proper polarity. This one is a no brainer, and if you have any questions concerning what I’m talking about, refer to issue 12/96.

POINT 6. Power cords make a tremendous difference. I talked about this in the intro, but the point still needs to be made. Power cords are important to sonics, and not just because they get the electricity from point A to point B. At the very top of the pecking order is the Electra Glide (and perhaps the Mapleshade when testing is complete), but below them are a number of relatively inexpensive cords that easily outperform the ubiquitous Belden 14-3 included with most gear. Simply putting new end plugs on the Belden 14-3 will result in improved sound. Monarchy has a nice shielded cord for about $50. For tube equipment there is always the Synergistic Research Power Coupler. For transistor fans, one can choose from superb power cords by Camelot, Audience, and TG Audio. These cords range from around $100 to $250. Using them is like investing another $2,000 - $3,000 in line level electronics. Think about that when you start to grimace at the price of power cords.

POINT 7. Line voltage. If you have components on more than one incoming line, check the voltage on each line. Different lines in a home can have different voltages running on them; it has to do with phase and the power company’s need to strap two lines to provide you with 220 volt AC. Measure your outlet voltage on each line with a volt meter, and if they are not the same, call an electrician to get the matter straightened out. (Make sure the lines are clear before you measure them.) High and low voltage from the power company can also affect performance. Equipment is designed to run at between 117 to 120 volts from the wall. Equipment with fully regulated power supplies will suffer less, but tube gear and tube biasing can go crazy when voltages go above or below the specified parameters. Solid state gear is troubled much less, though as Enid Lumley pointed out some years ago, even small deviations can penalize ultimate performance. AC line voltage drops are more a problem in the summer than the winter for obvious reasons.

POINT 8. Dedicated AC lines work. Having an AC line coming from the electrical service used only for audio is a plus. These are called dedicated lines, and are generally pretty inexpensive to have installed by a qualified electrician. Dedicated lines can be installed, or one can have a dedicated line by simply pulling everything off it save the stereo. The Big Rig uses two lines dedicated to it, one for line level equipment, and the other for power amplifiers. It’s also a good idea to have an electrician take a look at the age and quality of the wire feeding the system. Old wire can be a fire hazard, and poor connections at the service have been known to introduce substantial amounts of low level electronic noise to the sound. It has also been observed by many audiophiles that a twenty amp service will outperform a 15 amp service. Most modern homes have a 15 amp service, which in most cases is more than adequate. However, some older homes are limited to a 10 amp service, which can be a real problem for one with a pair of class A mono blocks. It can also be dangerous. All the money spent on the home electrical system is money well spent, even if it only serves to provide additional safety and peace of mind.

POINT 9. AC line conditioning comes at all price points - The First Tier. I’m not a rich person. Most of us consider a hundred dollars as major cash, so I think twice before spending $200, $500 or more. And with every dollar spent above that, the more I consider the cost effectiveness of the thing bought. It is therefore extremely nice when something positive can be done for minimal money. The first thing that I suggest is going to the inexpensive wall outlet from Eagle mentioned in the introduction to this article. Even if you have fancy orange hospital grade Hubbels in your walls already, the 49 cent Eagle will result in a noticeable improvement in sonics for your equipment. It’s only 49 cents man, be crazy for once!

After the Eagle comes the application of penetrating oil to the plugs of the cords. I don’t use oil on my plugs anymore because of the effectiveness of the TG/Bybee/Electra Glide combo. With those things already in the system, the oil proved to be too much. But for the ‘phile who isn’t willing to spend a month’s wages on AC line conditioning equipment, the oil is the ticket. Oil is a non-conductive insulator that is very thin. As such, when applied to the contacts of a plug and wall socket it does two things. First, it stops micro-arcing between the contact points that aren’t really making very good contact. If you have ever heard your system "pop" when turning off a light in the room, you have experienced micro-arcing. Your line is quieter with the oil. Second, it acts as the dielectric in a capacitor, thereby making the plug and socket act as if it were a high frequency filter taking out hash and garbage on the AC line. But be careful — too much oil, or too thick of an oil, and you can overdamp the sonics of a system making it sound unnecessarily slow and heavy. The highs simply go away. Move cautiously, and hundreds of dollars worth of AC line filtering can be obtained with a few cents worth of oil. And if you go beyond that which is sensible, buy a couple more Eagles and start over.

Don’t do it. I knew you were going to ask about which oil seems to work best. I started using the ART shark liver oil a few years back. It was supposed to have chemical qualities that were especially suitable for the application to wall plugs. But as time went on, readers urged me to use other oils of all kinds, and it seemed to me that the weight of the oil had a much greater impact on the sound than did the supposed quality of the oil or its chemical attributes. In other words, cheapest and lightest is best. Worry about the weight, and remember that Harley-Davidson eighty weight (Milwaukee Mud) is great in the Sportster, but not so hot in the wall outlet. Experiment a little, and expect to make a second application within a few days after the first one, but that will hold you for a while.

POINT 10. Power line conditioning for the Blue Collar Audiophile - The Second Tier. Going to this level starts to involve the expenditure of a few bucks on conditioners as well as the use of specialty power cords. It’s also at this level that things can get very complicated. Many readers who call indicate to me that the best way to go here is to use the tips in Point 9 (oil) in conjunction with more sophisticated conditioning. Most effective at this level are the capacitor based units from VansEvers and TG Audio. I know how these units work, and suffice to say, they are more than a cap in a box. Interestingly, the VansEvers and the TG are basically the same devices built to different price points.

It started with the Clean Lines from VansEvers. Mike VansEvers developed a neat little cap/resistor circuit that worked exceedingly well, particularly with preamps. Bob Crump of TG Audio came into possession of one of the Clean Lines and thought that he could max out the design by the use of no-compromise parts and a few proprietary construction tricks that he knew of from his development and modification of audio gear over the years. (Crump pays a royalty to VansEvers for every unit he sells for the use of that circuit.) In spite of the similarities, due to the way these talented guys approach the problems of construction, the units from each still have a differing sonic affects on the electronics they are used with. Give credit to VansEvers for keeping his prices so in line with what most people can afford. As for the TG, it’s a no compromise device and the price reflects that.

Other AC line filters that I feel do a good job include the Marigo Apparition, the Lightspeed by Chang (recently updated, and much improved I hear), the ACFX by Audio Prism, and the PAC units by Counterpoint. I recently pulled my old PAC-5 out of the video system and reinserted into the Big Rig just to see how far things have progressed since my initial review many years ago. The PAC is back! This is still a fine conditioner, plus it serves as a great test device to make sure that the power cords sent to me are properly wired in proper phase (it has these little lights that indicate the phase of the power cord, very helpful when manufacturers get it wrong). My experience with all of these units has been good, and correspondence with readers owning these machines has been extremely positive. In all fairness it must be reported that writer Bob Sireno likes the Seakay Line Rover a great deal, though it clearly overdamped the AC lines in my system after extended use. An extended try-out period is clearly warranted with it.

POINT 11. It doesn’t get any better than this - The Third Tier. This system of AC line conditioning has permanently changed the sound of the Big Rig.

Let’s start with the TG Audio Bybee-Sucker-Spur System. Last year when BFS reported that the line conditioner of all line conditioners was a Jack Bybee TAD plugged into a TG Audio Line Sucker, small aftershocks resonated throughout the industry. We didn’t make a big deal of it at the time, but readers who owned TAD’s added a Line Sucker, and people with Line Suckers added a TAD. The sonic impact was felt from coast to coast as BFS readers were being treated to a sound quality improvement unheard of (no pun intended) by audiophiles ever before. In response, TG started making "The Bybee Companion", a small Line Sucker with only one outlet into which one could plug a TAD unit. This was an important move for TG and Bybee because it is imperative that the Bybee be plugged into the TG, and not the opposite. Reverse them, and it all falls apart.

With this success in hand, TG contacted Jack Bybee and requested permission to construct a single unit with the Line Sucker filter and a Bybee unit in the same chassis box. TG made arrangements so that royalties would be paid to the designers, and it was agreed that Jack Bybee would provide his modules, and TG would construct it all using the lessons learned in the past regarding how things should be wired, and what parts to use. TG uses the very same Bybee filter that John Curl referred to in his interview in the August, 1997 Stereophile.

The Bybee-Sucker was launched with little ceremony at the Las Vegas CES in January. With Speaker Art, G&D Transforms and Presence Line, people marveled at the sound quality coming from a system so inexpensively put together (with the exception of the Presence Line preamp - it is expensive). But it was the late night listening sessions that really made people raise an eyebrow. Out went the Cardas wire, in went the JPS. Out went the daytime amp, and in went the G&D prototype. A few other changes were made to the system for the true aficionados of the art, and people from buildings all around came to listen. One of the guys that understood and realized the significance of what was going on was Chris English of Threshold/ PS Audio. He’d come to listen, go, and then come to listen again. At night after the exhibits would close for the day, he’d come to listen some more. The sound was immensely Hot! Chris wanted to know what was going on, so, on the last day of the show the Bybee-Sucker went into the PS Audio room with a couple of TG Audio HSR cords, just to see what would happen. The PS Audio electronics were powering a set of AudioStatic electrostatic hybrid loudspeakers. A few moments were taken to make the change to the new AC equipment. When everything went back on, the improvements were immediate and utterly outstanding. Chris’ face lit up. Expletive laden comments of astonishment were everywhere. The PS Audio/Audiostatic display exploded with sound. Nobody could believe the improvements, and immediately, I started to think about a review of the electronics and the speakers. Chris English asked to take the Bybee-Sucker home with him for a few days after the show (it turned out to be a month), and I had to get one for the Big Rig. Other than that small group of audiophiles, nobody at the show had any idea that the break-through component of the four days was an AC line conditioner sitting unpretentiously in the corner of the TG Audio room. Nobody knew.

With the right AC line conditioning it’s almost impossible to have bad sound. The Bybee-Sucker took a good three weeks to break-in, and even after that, improvements in sound continued that could only be attributed to its further development. And as it develops, the sonics do nothing but improve. It’s difficult to believe that an AC line conditioner can make such dramatic overall improvements to the sound of a system. But, maybe that’s the way it should be with the right AC line conditioner. For when one thinks about it, a conditioner doesn’t simply improve a single component, it serves to assist every component plugged into it. So, if there is a performance increase in one piece of gear, it’s only logical to expect that each component involved will be similarly improved performance wise. Now the preamp is working better, the ODAP is optimized, and the transport is humming along. It then follows that with all the components working better, that one would hear more of an improvement sonically than if, for example, only the ODAP had been upgraded. Sonic improvements are therefore three-fold, and all the more noticeable. Many improvements for the price of only one AC power conditioner. The Bybee-Sucker with Spur are in a class of their own.

The improvements wrought by their use are not insubstantial. Their performance as a system can only be referred to as groundbreaking, and a breakthrough of major proportions. This is what I have been waiting for as an audiophile - a product that makes everything sound dramatically better.

And you know, I don’t really care what some soft minded cretin thinks about my enthusiasm for these units. They do what I have said they do, and the person who scoffs has either never heard the system, or is deaf and dumb. We cannot be restrained by some flat earth meter reader who hasn’t the guts to listen and learn. A machine cannot measure all that our ears can hear. I recently saw on television that our brain takes in, compares, analyzes, and processes more than two billion pieces of information every second! The greatest audio computer on earth is still between your ears - trust it!

But it doesn’t end there; and now for something completely different. Once the Bybee-Sucker and Bybee-Spur for the transport were in the system, there was something else to be done. This I didn’t expect, nor did I think at the time that there was anything else necessary to improve on "the complete" AC line conditioning system. But there was more, and it was a power cord.

My comments herein are in many ways still preliminary. I’ve been working with this AC power cord for about two months and the more I use it, the more I learn about the cord and the maker of the cord. It’s the Electra Glide.

Let’s deal with the gossip first. The Electra Glide power cord is made by Scott Hall of John’s Island, South Carolina. He has a partner in Dave Elrod, who is the person actually responsible for the construction. But people are talking, and this is why: Scott Hall has a salty past. Scott has an attitude that some find unsettling. Scott’s design isn’t totally unique and original. Scott says that he is a changed man. There is a lot here, and yet I’m not sure how much this should actually concern us as audiophiles. At what point does the reporting of noteworthy news turn into tawdry gossip and damaging talk only meant to titillate?

Scott Hall has a past that involved some problems with paying debts. Which is only important when it comes to predicting the stability of the company behind the product. After the problems with Amrita, financial instability is not something that BFS takes lightly in a manufacturer. Inquiries made by myself, and others who I know, seem to show that Scott has repaid his financial obligations, and is on a sure footing at the moment. That’s what some of his past creditors have informed me; they having been paid. He has apparently made good on every one of his obligations, and who hasn’t been late on a bill or a payment at one time or another? I may not have all the information, but that’s what I now have.

Initially, when I first spoke to Scott, he told me that the basic foundation for his power cord was developed by persons at Mapleshade. Those persons at Mapleshade say that Scott basically took their ideas in a way that they feel was inappropriate. I personally know that Scott’s cord and the Mapleshade cord have some strong similarities in terms of conductor theory. They both use ribbons as conductors for example. But beyond that, now that I have cords from both companies, it appears that construction techniques, end plugs, dielectrics, plating, and finish are all quite different. I understand that they even use ribbons from different manufacturers. What I haven’t done at this time is have an opportunity to compare both sonically. Literally, I received the Mapleshade cords just hours before writing this down.

It has been said that the Electra Glide cords are fragile, and subject to being damaged. When one talks about power cords, reliability is a must - no exceptions. Period! Shorting, and the resultant potential for fire are always a concern when dealing with electrical products. I have not been able to speak to anyone who has had a shorting problem, maybe when people get this report they will contact me. At this point in time, all I can say is that the cords sent to me have not failed, nor have they given me a problem in any fashion. I’ve moved them in and out of a number of different outlets, and they have been taken in and out of the Bybee-Sucker lots. No problems, but I will admit that when I was told by the manufacturer that the first few cords built by them proved fragile, I handled them tenderly, at least at first. The exterior of the cord appears extremely well constructed, better than many I’ve received over the years. The product looks very professional if that helps. It hasn’t been UL tested, though Scott tells me that he is submitting it for such approval.

A five foot section of Electra Glide power cord will set you back $599. And if you read my review of the Essential Sound Products power cord last month, you know that I didn’t like that cord costing $499, partially due to the high price. It didn’t seem to be worth the money. On the other hand, the Electra Glide strikes me as worth the money. Here’s why.

A power cord can’t do this. Having listened to the affects of power cords on electronic components for the last eight years or so, I have found that cords affect the overall sound of a system in certain similar ways - more or less. In other words, in some ways they all sound the same in terms of a basic character. Some are more effective than others, that’s all. And so I was extremely surprised to hear the Big Rig doing totally new and unexpected things upon the insertion of the Electra Glides. They didn’t have the fundamental signature sound of cords auditioned before them. With the possible exceptions of the Mapleshade and NBS cords ($1,800 minimum for the NBS), nothing I have ever heard is even remotely as revealing. My comments to Laura when I first plugged them in were, "Power cords can’t do this!"

At this point in time I don’t want to go into a long, overly adjective laden report on the details of what the Electra Glide cords can do to an ordinary sound system. I find myself wanting to spit out all the old descriptive terms like transparent, clear, life-like, etc., etc. But where is that going to take me in terms of trying to go somewhere that I haven’t been before verbally? These cords are capable of taking the finest systems to places they haven’t dared go before. Modest systems are no longer modest sounding with the Electra Glides in place. How does one describe that? These cords are something different and unique regarding what they can do to equipment, and using tired old descriptions can only do a disservice to them. But I will say this, never have I had such low levels of mesh noise in the Big Rig. Never has the level of electrical artificiality been lower. Never have I felt the content of a performance with such intimacy and inner verve. Never have I heard greater dynamic contrasts. It’s as if distortions undetected before have been wiped away, leaving the listener one giant step closer to musical reality. Sometimes one doesn’t know that there is an audible problem until the problem is gone. Equipment that I didn’t particularly care for before, now sounds good - in some cases great. For the first time, I feel that the equipment being auditioned is working the way it was designed to on paper.

Set-up with the Electra Glide AC power cords, as with all cords, is simple. Though it’s more than simply plugging them in. First of all. The performance of the Electra Glide was exceptional all by itself, but it blew me away when used in combination with the TG Audio Bybee-Sucker. Because the Electra Glides are using ribbon conductors in a flex tube, bending it to accommodate different plug locations on various pieces of equipment can be a bit of a chore; the cord doesn’t always bend the way you want it to. Ribbons only bend in one way without being damaged. If you bend them along their short dimension they can tear, or at least crumple. The outside protective tubing used by Electra Glide only bends in one direction so as not to allow the ribbon inside to twist or turn in destructive ways. In spite of the bending caveat, the cord appears to be very well made.

Conclusion. Auditioning and reviewing music equipment becomes ridiculously easy when all one is hearing is the equipment; the electrical artifacts that serve to distort and confuse being removed. Differences still exist between components. What the Bybee-Sucker, with Electra Glide cords, does is narrow the gap between the best and the worst, while at the same time making those differences that still exist all the more easily discerned and documented. And together, I consider the TG Bybee-Sucker with Electra Glide AC power cords to be one of the few legitimate breakthroughs in recent years. For those who can afford it, upgrading to AC line filtering of this type is the difference between daylight and dark; a red hot iron and dry ice.

But don’t expect the audio world to catch on quickly regarding these things. As with all things that aren’t backed by full page four color advertisements in the glossies, these products will be something of an underground secret for some time to come. And while I expect those in the know at magazines such as Positive Feedback to instantly possess an understanding of the significance of what we are discussing here, I don’t see it going much further than that in the near future. Shake-ups of this magnitude simply aren’t that easy to swallow by organizations steeped in the security of the status quo. No, it’s much easier for the big boys to sit back and see where this goes, and if it catches on, do what they always do - report on it a year later, and act as if it were just discovered by them.

I have no reservations regarding the TG Audio Bybee-Sucker, it is the best AC line filtering device of its kind. My only reservation regarding the Electra Glide concerns the potential of the Mapleshade cord to be as good while costing less. That question could have been answered had this article been held back another sixty days or so, but that was too long to hold all this extraordinary information in. The Electra Glide is incredible, and that’s that! The more complete answers are coming, but in the mean time, rest assured that going with either of these products in the here and now is an investment in the present day state-of-the-art. This is the top of the mountain baby!