Nothing upsets me more than cellulite than how inaccurate all of the “accurate” audio critics are. If John Paul Satre were alive he would make them take down them pants and he would paddle their fannies for being in “bad faith”; for not accurately describing their full responses to audio equipment.

After a long deep affair with Berning’s 2A3 ZOTL, I could feel that deep hormonal twitch that ruined my marriages....though I was sublimely happy, I was becoming erotically restless...just like Beethoven and Hugh Hefner. I was born and I will die a polygamist.

As we know audio gizmos are powerful tribal totems, not some dumb kind of electrical/mechanical device like a ceiling fan. Any gizmo that produces powerful ecstatic aural metaphor digs deep into our souls and elicits a complex combo of complicated emotions which are older than civilization. The only way to be accurate about one’s description of an audio gizmo is to describe fully our responses, and judging by the run of the mill articles, either the audio critic has had a major frontal lobotomy and most of his brain is not responding, or they are accurately expressing  an existential poverty of a life not loved, or some heavy duty internal editor is carving up, and chucking,  the really good juicy stuff.

Which brings me back to the Sun Audio push/pull amplifier, which continues to illicit a very  potent/pungent response from my overactive musical nervous system. When I listen to these object d’art from Japan, I am not alone and I am not just in this dimension of time....all music lovers from all time are by side and we are sharing the experience...that is how powerful the beauty  of the Sun is, which explains why the Egyptians worshipped it.  The really juicy art of life, as you know, has the power to transport us across time, and plop us down right smack in the middle of our collective experience.

The Uchida family, the tribe that created these Japanese totems are my family.

No amplifier demonstrates the unique aural matrix of the Western Electric 300Bs better. This is the only amplifier I have encountered that is totally committed to using these classics 320 Volts, pure class A. I have never experienced a better midrange ONLY. Let me say that another way...if you want to hear the most exquisite midrange, and are ready to give up the harmonic foundation of music to have this unique experience....if you are ready to a pay a price for a limited but totally unique musical trip then the Western Electric 300Bs can’t be beat in the Sun amp. How is this midrange different that the SET midrange? It is not as ejaculatory, but it is much lower in distortion, wider and clearer, and has about ten pounds more scroop per square inch.

This is the best push/pull amplifier that I have ever heard and it is an embarrassment to every American audio design because they are avoiding the core notion of the transformer phase splitter. This amplifier is an example of what is wrong with the American audio design psyche, which is not yet mature enough to embrace this ancient wisdom. How can anyone boast about creating anything new, when this concept goes back to the 1930s?

On the nitty gritty level of the artification of harmonic/space/time continuum in my expanded aural matrix, there is something so authentic and musical convincing about these amplifiers that I must assign them a unique position in the audio galaxy. While they are not as low in distortion as the Berning ZOTL amplifier, overall there is a type of truth evident that I only experience when I am eating a lean pastrami sandwich at Katz’s delicatessen and have sex with Cameron Diaz on top of Mt. Everest.

They are physically beautiful the way a Ferrari or  Jaguar straight six engine is beautiful. They have the type of artistic truth that Winchester 94s have. These are small chunky amplifiers whose perfectly crafted wiring and solder joints are designed to imitate the best military construction techniques of WW II. No circuit boards here!

These amplifiers when coupled with the Tannoy Westminister Royals means that I can realize my dream. I have always wanted to be Tishuno Mifune, Japan’s most famous actor/samurai. Tishuno is Japan’s John Wayne. This combination is about as Japanese audiomaniac samurai as I can get and it is a choclatey sushi midrange with the highs of a samurai blade cutting through a lean pastrami sandwich. If you read my book, you would know that when I grow up I want to be a Japanese audiomaniac....a man must have a dream.

Listening to a very exclusive totem (one that hardly anyone else has experienced) is way cool...I mean it is the kind of guy coolness imperative I learned on the streets of Brooklyn, when WW II was raging. It is like having a rare Joe Di Maggio baseball card, and everyone on your block wants it but you are the only one who has something this rare, and because of that every kid on the block respects you...and you only let your best friends see it, and touch it and listen to it. Isn’t this tribal wisdom at least 25,000 years old? Does a dude wrestle with the cool imperative?

This is Ben Webster’s favorite amplifiers, and I know artist has an enormous ego and always wants to make sure they sound best. Again the Japanese audiomaniac trip...listening to 1950s American Jazz, sipping rare Scotch Whiskey, with British loudspeakers, American Western Electric tubes, and the finest Japanese is good.

So where does this leave us triode harem now consist of my home made SET, which relies on Plitron torroid output transformers and KR 300BXL tubes, the David Berning Z0TL in 2A3 mode, and the Sun PP with WE 300Bs. Who says Heaven doesn’t exist on earth?





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