We design and install high end audio and audio/video systems, home
theaters and whole house music systems that are tailored to each
client's individual predilections. We can help you update your
pre-existing system, as well as improve your room acoustics or
design an entirely new room for your music system or home theater.
With a tradition of personalized attention spanning more than 30
years, we think that you will be thrilled by what we can do for you!
If you would like to have us assist you in designing or updating a
system or room, you're invited to call us at 781-893-9000 to explore
From time to time we get unsolicited letters and e-mail from our
clients. We have published a few here.
Owner / System Designer
In his earliest years Alan Goodwin was surrounded by
music. His parents played classical and folk music on
their mono audio system and his mother played classical
piano with an emphasis on Bach. At the age of 5 Alan
started taking piano lessons. Since then he has also
played bass viol, bass guitar, acoustical guitar, and
3 years of apprenticeship in high end audio, Alan Goodwin
founded Goodwin's in 1977 at 33 Newbury Street in Boston
to sell high end audio systems by appointment (left).
By doing what he believed in and by treating his clients
the way that he would wish to be treated if he were a
client, the business naturally grew. And each year his
loyal clientele expanded.
year of opening, Alan invested in a state-of-the-art
recording system and made a series of on-location
recordings at venues including Boston Symphony Hall,
Jordan Hall, Paine Hall, Brown Hall, and Emmanuel Church.
It was a tremendous learning experience: there is nothing
like making a live master tape and then bringing it back
to the showroom and playing it over the finest playback
system then extant to learn about music reproduction.
The Newbury Street location was succeeded eventually
by locations in Cambridge and in Brookline over the
years. But according to outside observers, the newest
Goodwin's High End location in Waltham which Alan custom-designed in
1995 is the finest technical facility in New England for
the demonstration of high end audio and video.
(Longer, more detailed biography of Alan.)
It's common knowledge that the shortest distance between two points
is a straight line. Well...not always.A misspent youth building
various preamp, amplifier and short wave radio kits led to a degree
from Rensellaer Polytechnic Institute in, unexpectedly, biochemistry.
This was followed by a brief tenure in research labs but audio retail
seemed like it would be a bit more...human. Over 40 years later, it
was clearly the right choice.
Co-owning a high end store and then a
custom installation firm (in the days that it was a nascent industry),
has given him a a foundation in the business side of audio retail.
More importantly, music has always been the driving force behind
Malcom's relationships with his clients. Assisting in the choice of
the appropriate hardware is how he brings people closer to the music
that they love.
Another 40 years doesn't seem in the cards but as
long as he can bring the joy of music to people, he will.
From an early age, Dana Ente has had a connection to
the consumer electronics industry. He got his start at
his father's Brighton TV repair shop. He spent time
learning how to repair TVs and radios, as well as
installing antennae and sound systems. This was followed
by two decades of experience in the car audio business,
including installation and management positions at
several retail specialty stores. Experience in
residential and commercial alarm installation taught Dana
not only construction techniques but also instilled the
patience and attention to detail to successfully install
complex wiring schemes and properly integrate equipment
into any environment.
A former motorcycle hill-climb racer, Dana enjoys
spending time with his family while camping, practicing
cross-country and alpine skiing, biking and especially
fishing. When not picking rocks up around the yard he can
usually be found canoeing around a nearby pond with his
Jim Payne Fuller
Turntable specialist/ senior
technician/ System design and engineering
Jim is in charge of all
in-house technical repairs as well as being expert in turntable
set-up. In addition he attends to certain on-site
system setups and has traveled for Goodwin’s to such places as New
York City, San Francisco and Switzerland in order to do so.
Jim's Grandfather crafted clocks and rifle stocks in his spare time
and considered technical precision and aesthetic flow inseparable. He
insisted that a young, tinkering Jim pay strict attention to detail. At
the same time Jim was learning the trumpet and baritone horn and was
immersed almost daily for ten years in the sound of live, unamplified
music in various concert, marching and jazz bands.
Intrigued with all music and mystified by the hi-fi component
specifications advertised in Rolling Stone, Jim applied to the
Air Force at sixteen to attend FM radio repair school. His specific
goal: to definitively sort out these specifications and to learn which
are important and why, because they are so hotly discussed.
Stationed on the central coast of California, Jim's spare time was
spent tweaking audio components and attending as many live concerts as
His first civilian technical work began at Charleston’s former Hi-Fi
Clinic in 1984, just one day before his first daughter was born. In
1986, he completed an associate’s degree in electronics engineering
just before he moved to San Antonio and accepted a technical sales
position with the former Bill Case Sound. Moonlighting at the same
time for Mark Heaston
and Creston Funk of Concert Sound, Jim learned Linn turntable setup. In
1988-89 Jim briefly sold gear at Bjorn's Audio/Video, also in San Antonio,
intent on learning new projection home theater philosophies.
In 1991 Jim co-founded Absolute Sound, a West Virginia high end
audio/video shop, but eventually surrendered his interest in that
enterprise and by 1997 had returned to his alma mater to teach amplifier
and AC theory and semiconductor physics. In 2000 Jim earned his FCC
class one license.
Jim has built, experimented with, repaired, and modified amplifiers,
speakers, disk players and most other audio components for over three
decades—specializing in turntables, amplifiers and speakers. At home
his primary listening source is vinyl. He says the most rewarding part
of his work is enhancing the quality of music for others.
About those hotly debated hi-fi specifications, over the years Jim
has unraveled the mystery and distilled four technical specifications
that actually provide real, honest insight into any piece of audio gear:
they are height, width, depth & weight!
With many years of experience working with computer-based
accounting systems, Karla keeps the back office humming!
Goodwin's was founded in 1977 by Alan
Goodwin at 33 Newbury St. in Boston. The showroom was set
up to showcase the finest in high end audio by
appointment. In 1978 a high end recording system was
procured in order to have the ultimate reference
possible: live master tapes. When you have the
opportunity to go and hear a live acoustical event, then
record it and play it back over the finest system
possible, it is a tremendously powerful reference tool.
With the reference of live music, judgments as to the
accuracy and musicality of playback systems can be made
Over the years the business grew and moved first to
Harvard Square in Cambridge, subsequently to Brookline*.
In 1995 the current Goodwin's High End location was
opened at 899 Main St. in Waltham. This is the largest
high end facility in New England. But more importantly,
both clients and people in the audio industry consider it
to be one of the finest demonstration facilities in the
country from a technical point of view.
(Click here for a
longer, more detailed history.)
*A store in Brookline which Alan originally
founded bore the Goodwin name for a number of years
after his departure. That store has since been
renamed to avoid confusion. Alan is no longer
associated with it in any way.
Architectural Digest, November 2006. One of the systems we installed in Boston was photographed
for an article in Architectural Digest. The living room system of this
fabulous Back Bay condo features a Spectral Reference system driving
X-2's—and the Family Room utilizes another separate Spectral Reference
system. In addition, among other things, this home also features a home
theater, a roof deck system, and a video screen behind a mirror in the
guest bathroom—all controlled by a Crestron system with custom
programming. Of course the photography itself was up to the usual high
Architectural Digest standards—simply beautiful!
This Old House, The
Cambridge Project, 2005-2006. We
were delighted to have been selected as the audio,
video, and automation specialist for the 2006 This
Old House project in Cambridge, MA.
The contemporary home features an extensive audio
system with speakers in most rooms and high-end Dynaudio
Confidence C2 speakers in the living room. Behind the
speakers, stealthy CinemaTech Acoustic Room Systems
fabric walls tame the lively acoustics. Between the
speakers a trick Auton lift lowers a portion of a
click picture to enlarge) into the basement (!) to reveal a glorious
61" Runco plasma. A REL Studio subwoofer supplies
In the master bedroom, a 43" Runco plasma
a custom cabinet. With 8 color touchpanels, 23 keypads,
5 video cameras, 8 Crestron-controlled thermostats,
nearly 80 Crestron-controlled lighting loads, 3 miles of
audio, video, and control wiring, and a huge 10kVA
Equi=Tech balanced power conditioner, this is the most
extensive and comprehensive automation package ever
installed in a This Old House project. It even has a
superb turntable for you vinyl lovers: Clearaudio
Ambient with an Audio Research PH5 phono section.
The first of three episodes featuring Goodwin's High
aired in January 2006 on PBS.
"Please know that it was GREAT working with you and the
Goodwin's [High End] team — you guys are true pros with
amazing dedication and talent. Thank you for the very long
weeks you put in leading up to the finale [video shoot]. We
couldn't have done it without you." — Deborah Hood,
Producer, This Old House
Episode 2516: "... In the basement, Kevin finds master
electrician Allen Gallant and Goodwin's High End installing a complex electrical landscape that employs
over 6 miles of wire to support whole house automation and
lighting control. ..."
Episode 2517 "... We show host
Kevin O'Connor how he’s concealing a 61" plasma TV in the living room,
and adding acoustical panels to enhance the
sound in the room...."
Episode 2518 "... On the final day,
minutes before the wrap party, we
show Norm the finished media system and whole house automation...."
This Old House Magazine, April 2006. You can see our work in
the Cambridge Project on page 74.
This Old House, June 2004. Early in 2004, a This Old House
camera crew visited our showroom. Show host Kevin O'Connor chatted
with us about video display devices (CRT televisions,
plasma displays, rear projection televisions, and DLP front
projection). The show also discussed room acoustics, showing products
from ASC and Goodwin's High End's own acoustic baffle system. We
enjoyed the experience and found the cast, crew, and director a
pleasure to work with. We were fascinated to see how unscripted,
improvised educational programming is shot and produced.
episode aired in November 2004 on the
network as show #60. Inside This Old House numbers it as show
Steinway Magazine, 2004. A large photo of our high-end music
studio was featured as an example of the importance and impact of
Boston Globe, July 21, 2002. Goodwin's High End was cited as
an expert on the programming of control systems. The conclusion of the
article is that the job of programming a control system is difficult
for an end user and might best left to a professional.
"The Crestron doesn't only run the machines. It can be
programmed to light the viewing room, or operate window shutters to
keep the light out. You — well your programmer — can set different
scenes, for viewing, chatting, or whatever scenario you can
envision. The one I saw modeled at Goodwin's High end wasn't set up
to pop the corn, but it could have been."
Boston Globe, May 23, 2002. Goodwin's High End was selected
to provide factual information about:
- home theater room construction (room dimensions, acoustic
treatment, light control, speaker placement, electrical system,
door location, control system),
- home theater terms (aspect ratio, Dolby Digital & dTS, HDTV,
interlaced & progressive scan, woofers & subwoofers),
- a typical $20,000-ish home theater system.
For example, in discussing the door to a home theater, the Boston
Globe reported, "'Ideally you would have a trap door in the
floor,' Goodwin says, almost with a straight face. Realistically, he
said, the door should be located at the back of the room, so when it's
opened, light spilling into the room won't fall [directly] on the
screen or the viewers."
Listener Magazine, Autumn
1995. Goodwin's High End was reviewed as the best audio
store in the Boston area.
The following is an excerpt from the three page review
of Boston area stereo stores:
"...Alan Goodwin is a calm, civilized fellow,
deeply committed to the synergistic principle of system
matching. He...now has a brand new store in Waltham
(781-893-9000), with five [now six] well-equipped demo
rooms. Goodwin's High End sells Audio Research,
Theta... , MIT and a number of much more
expensive brands. Perhaps a little
narrow in choice of products (itself a consequence of his
"system matching" thinking), perhaps also a
flutter obstinate in his embrace of the expensive
"high-end" concept, I can nonetheless heartily
recommend Alan Goodwin as a trustworthy, knowledgeable,
and helpful dealer who will provide excellent service to
the music lover. His is the best operation in town."
Boston Herald, September 25, 1992.
Goodwin's High End was featured in the Boston Herald
newspaper with more than a full page of coverage.
An excerpt follows here:
Audio Adventures — by Larry Katz, Music Editor,
What had I gotten myself into?
You don't call a Rolls Royce mechanic to tune up your
Pinto. You don't need a brain surgeon if you cut
yourself shaving. You don't hire Alan Dershowitz
when you get a parking ticket. So what was Alan
Goodwin doing coming to my house to check out
the sound system I'd bought at Tweeter etc. 10 years ago
for under $900?
Goodwin is New England's premier high-end audio
dealer. He's owned stores on Newbury Street and in
Harvard Square, and Goodwin's' Audio on Commonwealth
Avenue still bears his name, although he is in no longer
officially associated with it.
In 1990, Goodwin decided to devote himself to offering
the very best audio and video equipment money can buy and
opened Goodwin's High End...
No sign out front identifies it.**
"People who are interested will find me.",
While not everything Goodwin sells is outrageously
expensive, much of it is. A CD player for
$10,000. A tone arm for $12,900. Speaker
cable alone can run into the thousands. If Goodwin
isn't crazy, then his customers certainly are. Or
so you might think.
But it turns out Goodwin, a tall, thin, 39-year-old
with a soft voice and casual manner is not an audio
snob. His interest in the ultra-costly gear stems
from his love of great-sounding music. But he
believes you don't necessarily have to spend thousands to
enjoy good sound in your home. And he was
coming to my house to prove it.
Thinking about it was making me sweat. I feared
humiliation. I imagined Goodwin sneering at my
budget-priced equipment and the tangle of wires
connecting it. I could hear him laughing
derisively at what I, a music journalist, accepted as
But I was the one laughing when I looked out my front
window and saw Goodwin walking toward my apartment toting
two speaker stands. Speaker stands! What a
joke. Was he going to tell me that lifting my
speakers a few feet off the floor was going to make a
difference in my listening life? Hah!
To my surprise, Goodwin barely glanced at my Yamaha
turntable and receiver, Aiwa tape deck, and the one
addition to my Tweeter-bought system, a borrowed Musical
Concepts CD player, (I'd recently killed my own by
accidentally whacking it opened tray). Instead, he
immediately turned his attention to the placement of my
"They're buried," he said after listening to
bit of guitarists' Strunz & Farah's
"Americas," the CD I'd chosen as our test
recording. "They sound dead."
Both speakers — Boston Acoustic A60s— sat on the
floor with their backs against a wall and with books
piled on top. One was partly blocked by a loveseat.
"Where do you usually sit when you
listen?," Goodwin asked. I positioned myself
on a couch opposite the speakers. Goodwin removed
the books, pulled the speakers away from the wall and
placed them on the speaker stands.
"You want air around the speakers", he
said," at least the kind you have. You want
them at the right height, which is generally ear
level. Most importantly, you want to position them
across from you to form more or less, an equilateral
triangle. If the speakers are too close together,
they'll constrict the sound. It won't be open
enough. Too far apart and you'll get a ping-pong
effect, which can be fun, but you'll lose the center
Like any stereo owner, I'd heard about speaker
positioning before. This wasn't news. I'd
been hoping Goodwin would perform magic and instead he
was telling me the same old story.
But the improvement in sound was magical. The
music pouring out of my speaker was more alive,
dramatically so. Certain sounds seemed to be
coming, not from the speakers, but from between them...
Searching for just the right position for my speakers,
Goodwin then "tweaked" the sound by having me
shift my seat slightly and by moving the speakers an inch
here and there. Every change produced an audible
difference. As a further tweak, Goodwin removed the
protective grills from my speakers, which literally
uncovered more sound.
Goodwin wasn't through. He then claimed he'd
further improve the sound by changing the cables
connecting my components. The notion struck me as
"Just plugging and unplugging your connections is
going to clean the contacts and improve the sound,"
he told me. I tried not to giggle.
First he replaced the cheapo wiring connecting the CD
player and receiver with a one meter-long pair of MIT
interconnect cable (price $35). To my amazement,
the sound became noticeably more vibrant, the bass in
Replacing the wires running to my speakers with
10-foot lengths of MIT cable ($80 per pair) produced
another improvement. It was as if Strunz &
Farah had replaced dull old guitar strings with brand new
Was I impressed? You bet. Investing time
and not much more that $250, I was hearing what my system
was capable of for the first time.
Later that day, I brought my speakers and receiver to
Goodwin's showroom. There I heard the kind of
stunning sound that convinces music lovers with fat
wallets to drop large sums at such high-end outlets...
First Goodwin hooked up my speakers and receiver to a
Spectral SDR-1000SL CD player ($5795). After a
listening period, he replaced my receiver with a
Spectral DMC-20 pre-amp ($5395-6995) and Spectral DMA-180
power amp ($6495). Let's just say my $150 speakers
were sounding better than ever.
Then Goodwin hooked his ungodly good equipment into a
pair of Win Labs SM-10 speakers ($6259a pair). The
richness and detail of the music was stunning.
"I call high-end audio the best-kept
secret," Goodwin said. "Most people don't
even know equipment like this exists. They
certainly haven't heard it. When you do hear it,
you understand it's not just an expensive toy.
You're buying music."
To fully savor the high-end experience, a few days
later Goodwin took me to the Brookline home of computer
expert and musician Chris M. In 1987, Goodwin
designed a dream home-entertainment room for Mr. M.,
installing an audio and video system that cost upwards of
The sound that emerges from the 6 1/2-foot-tall
speakers is buttery rich, deeply engrossing and almost
life-like. Almost. Reproducing music that
sounds as good as live music remains the ultimate goal of
But the goal of high-quality sound in your own home is
obtainable — and you don't need a ton of money to get
started. Before you spend a penny, start moving
those speakers around and listen. Better
sound can be yours if you want it.
(**Please note: We have decided that to
celebrate the new millennium that in the year 2000 we
will install a sign so that people can find us more
Arts & Entertainment Magazine, February
1992. Goodwin's High End was one of three
stores in the US featured in an article about high end
audio. An excerpt follows:
What Does a $300,00 Hi-Fi Sound Like?
The Heavenly Choir Itself, the Author Discovers— by
In the beginning (for me anyway), there was a trip to
Boston to catch up with Nick and Dru, old friends.
There was a bike ride with Nick on a glorious afternoon,
leaves sighing in the breeze and the world pretending for
just a few hours to be an orderly place. Then we
found what we were looking for: an audio showroom.
This particular one was sunny and filled with plush
furniture, and, of course, electronics. I wasn't
aware at the time, but subsequently I came to see that we
had entered a religious place: a temple that served the
cult of the ear.
The wall nearest the street was lined with pairs of
speakers of all sizes and descriptions: six-foot upright
coffins, five-foot vertical hope chests, four-foot
pyramids. Between the speakers stood a wooden table
holding large chunks of transistorized metal: amplifiers,
preamplifiers, compact disc players, and a turntable. A gilded couple from Florida sat on a couch facing
the electronic "altar," while a young initiate
ecstatically spoke in the tongues of the trade:
"Refined" speakers with "dedicated
woofers" had "dynamic range"; their sonic
quality was "pure"; they became
"transparent" and created "images" of
the musician's locations. But the woman from
Florida was not as taken by the esoterica as was her
husband. She took one look at the two-inch thick
extra-heavy speaker cables running along the floor and
cried, "Honey, what're we going to do—I can't
vacuum over those wires!". The man ignored
her, lost in the talk of transplendant sound
reproduction. Funny enough, once the ritual balms
of demonstration discs were applied to our ears and we
finally heard some music, Nick and I understood most of
the private language immediately. Every selection
astonished. Pianos were crystalline, vocals were
filled with breath, and the first exuberant kicks of Art
Blakey's bass drum exploded like a concussion grenade. In fact, the system did seem transparent.
After his customers left without buying a thing I
asked Alan Goodwin if he had an absolute all-star hi-fi
system in mind for me—a "best of the
"best" I might save and scrimp to buy some
day. An eager smile crossed his face.
"You mean no compromises?" None, I
replied bravely. Without pause, he rattled off the
name brands as if they were sitting in front of us (in
fact, some of them were). Curious about how many
paychecks I'd have to fork over to own such a setup, I
queried him on the do-re-me. The whole system came
in at (humina humina) three hundred thousand
Now I'd owned one stereophonic music-playing device or
another since I was fifteen and am currently in
possession of completely adequate, well-loved mid-quality
products that cost about a thousand dollars ten years
ago. Nevertheless, I was aware of devotees whose
motto was "only the very best." I'd
glanced into some of their specialty magazines, where the
letter writers often seemed eccentric, cantankerous, or
fanatic. But I had no idea that they spent so much
money on their pursuit of the perfect soundwave.
I left Boston haunted by the thought that
someone could sleep on a dark street somewhere while
someone else could watch from behind a window, calmed by
the "sonic purity' and "dynamic range" of
this quarter-million-dollar sound machine. Was it
just plain ugly ostentation, or was there some kind of
price/value equation that I was missing? It'd
already hit me that I'd never own that perfect system,
but I also realized that I'd never hear recorded music
sound better than what I'd heard in that room [at
Goodwin's High End]. The "high-end sound"
was different, very different. But three hundred
thousand dollars different? (That is for you to
Audio Magazine, March 1985. [An audio
and video system designed by Alan Goodwin was featured in
Audio Magazine in a one-time-only special supplement
printed on extra heavy paper stock. Nine of the top
US audio stores chosen—and each store had one of their
high end system installations photographed. The
system from Goodwin's was prominently featured having
been given a full two-page spread showing the system, and
also showing how the system was completely invisible when
not in use. Alan's system was the only one
selected from the New England area.]
DESIGNS FOR LIVING
Even in a world of few certainties, occasional
statements can safely be accepted as truth. One
such maxim, beauty is in the eye of the beholder, has
been borne out by centuries of changing taste,
preferences ranging from the classical elegance of the
Parthenon and other monuments of ancient Greece to the
curvaceous architectural jewels of Vienna. Just as
one generation's collective eye exults in the swirling
opulence of Art Nouveau, another era's vision is lured by
Mondrian's linear austerity or the products of the
Bauhaus, all based on a firm belief that less is more.
And consider this dictum, no less axiomatic if all too
often ignored: A high-fidelity system is seen even more
than it is heard. This is why Audio, which
perennially concerns itself with the sound of hi-fi
components, makes this brief detour along visual
avenues. It is not our purpose here to evaluate the
envelopes in which individual pieces of equipment are
contained. Rather, in the pages that follow, we
present several systems in situ. While designers of
these rooms took varying directions, some celebrating the
hardware while others chose to de-emphasize it, we feel
all are exemplary.
Some years ago, our Senior Editor Leonard Feldman,
supervised the setup of a component system in Jimmy
Carter's White House. In the process, he had to
convince the Presidential minions presiding over the
event that the loudspeakers should not be placed behind
The installations pictured on the following pages
provide clear evidence that neither compacts nor curtains
are the answer for people conscious both of what they see
and hear. While obviously expensive, some the
visual ideas embodied can be scaled down for a long and
happy mating of good looks and fine sound. Such
solutions are well worth seeking even for those who find
the merest sight of high tech a low blow. After
all, as a poet long ago noted, "Music hath charms
[The picture of the Goodwin's system was captioned by
"A now-you-see-it, now-you-don't approach to
stereo sound was taken in the above installation by
Goodwin's of Cambridge, Massachusetts. Built-in
cabinets spell concealment for speakers and subwoofers
not in use. For music, one need only open their
The Boston Globe Magazine, March 26, 2000.
We were the only high end store named in a feature
article on high end audio.
At the top of page 22 near the end of the article the
following was written:
"...seven dealers in the United States — one of
them in New England (Goodwin's High End of
[Copyright restrictions prevent us from reproducing
the whole article here, but we were granted permission to
excerpt the portion where we were specifically
We will do anything within
reason to make sure that you are satisfied
before, during, and after making a purchase.
We believe in long-term relationships with our
clients, and we base those relationships on mutual
respect and trust. If you have a special need or
situation, we will tailor our policies for you. And of
course each person needs a different level of attention,
and so we will give you whatever attention you desire.
Philosophically, we believe that systems are best built by
carefully selecting components that will be satisfying and enjoyable
in the long run. Sometimes, however, you may find yourself with a
recent purchase that you wish to upgrade. Accordingly, we offer a
trade up policy as follows:
the first year of ownership, you may trade in a component for a
new like component (e.g. preamp for preamp, speakers for
will receive a trade-in credit of 50% of the price of the new
component, up to a limit of the price paid for the trade-in. This
implies a full-credit trade-in when purchasing something of at
least twice the price.
trade-in must be a current model, purchased as new, in excellent
condition, with all packaging, accessories, and manuals.
policy applies to speakers, preamplifiers, amplifiers,
digital-to-analog converters, CD/DVD/SACD players, turntables and
tonearms, AM/FM tuners, video scalers, and audio
cables/interconnects of typical length and configuration. It does not
apply to phono cartridges, satellite equipment, video display
devices, furniture, lighting, custom installation products,
control / automation systems, universal remote controls, custom
order products, products used in a non-residential application or
any other product not specifically covered.
tube equipment is subject to an adjustment for wear on the tubes.
premium finish / option upcharge is excluded from the trade-in
policy is in addition to any upgrade policy offered by a
Any of these policies are of course subject to change. Any changes
would take effect at the time of our website being updated with any
new or modified policies.
Canceling a sale: Money-back
Guarantee and the Restocking Fee
We truly want you to be happy with your purchase. We
absolutely never use high-pressure sales tactics to
coerce you into buying something that you're not sure you
want. Furthermore, should you change your mind about
something that you have bought or placed a deposit on, we
will cancel your sale or order within 7 days, and we will
do so without pressuring you in any way.
If you have broken the seal on the carton containing
the returned equipment, we must charge a 15% restocking
fee. Similarly, if we have ordered equipment for you, and
we cannot cancel the order with our supplier, we must
also charge a 15% restocking fee. Special orders
(including custom colors, special configurations, unusual
dimensions, specialty equipment, and so forth) cannot be
Prices in this Web Site
We have worked very hard to give you relatively complete and
accurate information in this site, but we're not perfect.
Sometimes we make a typographical error. Other times
there may have been price or model changes. Please let us know
by e-mail if you find an
error, so we can fix it. Although we think it's obvious, our attorney
insists that we actually say: we're not responsible for errors in this
web site. There, we said it!