Garrett, your new book The Perfect Sound: An Autobiography in Stereo is poised to come out as we conduct this interview, but I’ve been privileged to watch it grow for the past several years—from its initial impulse, which as I recall was going to be a lyrical history of the vacuum tube, to its final form, a much more encompassing and complex work. Our conversation here, naturally, will come out of the substance of The Perfect Sound, but will probably meander, as the book itself appears to do while always returning to its narrative core.