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I neither had a real music instrument nor formal training in music growing up.  I could follow along the tunes I heard on a little red toy piano I had.  My father never sang anything.  It was just once in my lifetime I heard my father humming a tune that lasted no longer than a few seconds.  My mother will sing to herself at times, and my family was not one that had any musical inclinations.  My sister took piano lessons as directed by my parents because it was "proper" for the girl in the family to be able to play the instrument at social occasions.  She never developed a real enthusiasm for music.  I kept playing my toy-piano and the next time I had regular access to a music instrument was when I was in college.  My generous dorm mate granted me access to his violin whenever I liked, and I quickly got the hang of it.  The first purchase from my first salary was a Lark student violin.  Naively one day, I went to one musical legend in his retirement who lived in the area and I took my brand new violin.  Maestro Dayapala asked me "Whaaay do you want to learn this instrument?  Do you aSHpire to become a muSHiSHian?" I said "No sir -I just like playing music".  He said "Well... play something you know..." and walked away to fix himself a cup of tea.  He reappeared several minutes after.  "Okay" he said. "Have you had any training?"  "No Sir" I said.  "Great!!" I still do not know what he meant.  Maestro Dayapala had immense patience. He started by crunching my fists at the beginning of every lesson to give them some of that much needed flexibility for music that they had grown without. "Have you tried any other instruments?" he asked.  "No Sir" I said.  "Hm.........." he replied.  I understood what he meant eleven years later.  I went to Maestro Dayapala every Saturday for four years, and I practiced several hours a day, often trying new things.  I practiced and played for myself, and enjoyed it immensely.  I was not about "doing it well", but just the enjoyment of it. 

After four years of incessant training I could play the violin reasonably well, well enough to play in a little orchestra after perhaps ten times the practice and rehearsing the others needed.  One of the priced possessions I brought along with me to the US  was my violin.  Weekend "singsong parties" were a big thing for isolated pockets of Sri Lankan communities in the US college towns.  You can't sing to a violin! You need a guitar!  I found a used Ibonez from a garage sale and taught myself to play it well enough to support our weekly singsongs.  I always liked the sound of woodwinds, the saxophone in particular, and my new found love for Jazz made the saxophone to be of an intense appeal to me.

I went to a small music academy in Lynchburg Virginia one day to meet a music teacher.  He turned his chin up and ask  "May I help y(h)ou?".  I said "I would like to play a saxophone".  He laughed. "Do you have one?"  "No."  We began by signing papers.  "Sign here, here, here.... and here, and finally....here!"  I had just rented an alto saxophone for a month with insurance!  My music teacher explained: This is the bell... that's what you hold the thing with.  This is the neck, this is the mouth piece, this is the reed.... you put the two together and blow in it like this..." and so on. It was troubled love, and it took me several days to make the horn make any descent sound.  "Puza" -the cat hid under the basement sofa when I played (He loved the sound of violin though).  It definitely helped that I was so single.  I didn't read the Western notation well and stubbornly kept transcribing music in the Eastern notation.  One day I gave up and decided to learn it. 

I graduated from the academy with a public debut, and stopped renewing the rental and moved onto a Keilwerth Tenor.  She met my stubbornness with her own, and it took months to develop facial muscles and lung capacity just enough to hold a tune.  In 2011, a mirror broke accidentally to cut halfway through my right arm all the way to the ulna and radius.  My fiancée, Michelle was promptly informed at the ER, "Your 'husband' may never use that hand again".  I picked up the horn on the third day after the accident, high on hydrocodone, and played while the dressing on my arm turned crimson and nerves shocking me to the point it wobbled my knees.

The surgeon would call it an uncanny recovery.  Residents were called in to meet me during follow up visits.  He tells me "Tell them what you did..."  The Keilwerth had returned my love for her.  I recall my promise to myself during the healing process: "If my arm returns 100%, I will play for people to make them happy."  My arm is 100% now, I need to play more at street corners.   

Faithful music reproduction has always been of my interest.  I had built amplifiers and speaker baffles with that hope, but only for my products to fall  well short of the expensive audio equipment that some of my wealthy friends had in their homes.  By the time I was 17, I had made two audio innovations of my own that I did not know existed until I came to the United States; Surround sound reproduction and Passive radiators in audio speakers.  The American audiophile taught me the virtue of pure stereo reproduction for audio, as opposed to surround sound for video.  I sat on the edge of my chair for several hours the day I replaced my "Receiver" with my first real "Amplifier".   

A dedicated listening studio was built to the golden ratio. I learnt of the value of clean power when I had to turn the refrigerator off until clean conditioned power was brought in separate bus-bars to the listening studio. I blind tested Michelle on power cables to find that it wasn't placebo that made me admire better power cables. The studio walls were triple plastered, and a floating floor was installed. This studio was left behind when we moved to Charlotte. Thankfully, our church house has excellent acoustics. I hear the breathing in of singers and fingers sliding on strings.      

I have been very fortunate in equipping this studio. We acquired the very Piega P-10 Reference speaker pair that Lew Lanese reviewed (http://www.stereotimes.com/speak123099.shtml). Amplification is by Mark Levinson and Audio Research. CD transport is Metronome Technologie, and reference grade cables came from various manufacturers. The path to audiophilia is tortuous. You always know that there is something missing.  But when you hear the wine glasses being collected by waiters in live recordings and orchestra members reposition their feet at the conductor's summons, you know you have "arrived" .     

A fellow audiophile introduced me to the astounding vinyl sound quality sometime ago.  This was a truth I knew when I played a soundtrack on a cheap turntable that beat the identical track played on high quality compact disk format (DDD) to utter shame.  When this happened I had wondered "What's happening? something must be wrong!"  Facts won over faith, and soon I became a analogue fan.  Recently, we had another lucky strike finding the complete vinyl archive of the American Jazz Institute, in mint, never played conditions.  It is a wonderful experience to find rare vinyl albums in good condition.  Initially I thought it was placebo driven by the ritual of LP play.  That opinion proved grossly uninformed and vinyl continues to outperform the state of the art uncompressed digital media, until now, within my wealth bracket. 

MUSIC

Willed to the future audio library of  University of Peradeniya   

Equipment shown here comprises of a heavily moded Nottingham Sturntable, re-machined Anna Space tonearm, a recast Dynavector 20XL cartridge, and Audiance SX tonearm cables.  I continue to experiment with tube audio and horn speakers, but when I hear the understatement of raw power of high end solid-state audio (well, preamp and transport are hybrid) played for detail, not loudness, I find the the Levinson/Audio Reserach marriage to be made in heaven, the quicksilver mono-block/Shindo love affair to come in second.

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