Flipping the massive 6mm steel bonnet—no ringy cover here!—revealed an obvious preference for bolted connections. Below we see one RCA input with the XLR above and the speaker terminals of one channel below. That's how high-current connections are properly executed. Mostly obscured behind the looping thick black cables is one of the four über Mosfets. For a better view, I superimposed one in the blank field to the left, below that the Harmonix powerline filter pod which sits between the quartet of mondo Rifa storage caps.

Even the bypass caps are premium Rifa units. So are two 'star-cluster' quads behind them...

... of which we here see one in closeup.

Which gets us at one of the 400VA Bando power toroids, more screw terminals...

... to finally be followed by the a control board before we put this lid back on geeky things.

The business end sports stout machined-from-solid terminal wing nuts. The power mains hides dead center on the belly right behind the face plate.

Completing delivery was Kazuo's special 5-meter studio cord; and a set of four TU-505EX Mk-II footers finished in fine black felt on the underside to protect support furniture. The latter are useful also for increasing the gap between amp and shelf to better get at the power mains switch on the belly though for just that function, something far more mundane and affordable would do the same job. The main task of the TU-505EX Mk-II is for isolation.

Being a fully run-in dealer demonstrator, the opening track of Erkan Oğur's haunting Dokunmak was all it took to confirm proof of life. With the very cleverly loaded Aptica transmission-line speakers from Italy's Albedo Audio with their top-quality but still only 6" ceramic mid/woofers making extremely robust mid and low bass, I had early suggestions of unusually big LF which I subsequently balanced out with EnigmAcoustics' Sopranino super tweeters on their dedicated stands driven in parallel not series to maximize output.