Micro SX-8000 II or SZ-1

Ho, crash, clang, this no funny non-morphemic sound pepa-tt on top of ah TV, and caan listen to ocean...

It is an interesting point you make, and a Mr. Steen Duelund (bless his souls) had noted the different Asian physic --- shoulders closer to the ears and that as far as he found, attributed to a different sound appreciation.

If you once had the opportunity to listen to Chinese Opera (and in deed survived the occasion) you will absolutely appreciate that there must be a difference here. Head splitting crash cymbals and lots of nasal ha's and ho's is mostly outside of the western ears' idea of 'music' in deed :-)

FM_login,
I am not sure I understand the "non-morphemic tone of Asian language" bit, and I am certainly unaware of how such might relate to "Japanese sound". Japanese language is structurally morphemic, and is not tonal in the way that Asian languages are generally labelled tonal. If "tone" refers to intonation, Japanese is not structurally dissimilar from American English - the intonation is different but the structure of intonation patterns is not.

I think talking about the shape of physique is cute but almost meaningless; in terms of physique the more important aspect might be seating height, as affected by ratio of upper body height vs lower body height combined with average height - the average ear-tuchus span as I think it is technically called :^)...

As for what the Japanese sound is.... some of the favorite tables out there are Linns. For those who play with heavy platter Micros, the most popular arm/cart combos seem to be SME long arms with SPU carts attached. And usually all this is played through a class A amp, in many cases SET.... is that "Japanese sound?"

MUCH more important would be average difference of listening room environment.

FM_login
This is a funny understanding of the Japanese audiophiles you have. Having lived in Japan I have seen listening environments which do match your description (TT on TV etc.). But I have also seen very sophisticated environments, carefully planned and executed - also in big rooms, believe it or not.
And to be honest how many of the listening rooms in the western world are carefully planned and executed?
Maybe it is always the same with our preconceptions we carry around with us. Maybe you think of me as a German going every weekend to a Volksfest in Bavaria, returning home and playing Marschmusik all the time...

Well, - on the other hand (chinese doesn't have that much in common with japanese as it might seem from the western point of view....) there was true audiophile high-end in Nippon VERY different from what we think/thought by looking and listening to Technics and Sansui low-fi ss amplifiers in the late 1970ies.
And western Jazz and romantic european symphonic Classical music was - and is - big in Japan.

There were sophisticated SET-amplifiers, complex super high efficiency horn loudspeakers and big analog turntables widely common in Japan by the late 1970ies.
But - I admit - not in late maoistic China.......

We just didn't noticed back then.
We thought the low-fi components they exported and sold to us were all they knew and could do.
Big mistake.
Most - if not all - what we "discovered" in the 1990ies was imported via France from Japan with a solid 20 year delay.

Thuchan, I could not agree more...
Preconceptions and "experiences" long gone and the result of different conditions no longer apparent, do sometimes cloud the sight and most often do serious block new paths which could lead to much better results.

SET amplifiers, LCR RIAA triode SRPP-preamplifiers, big string driven TTs, complex super sophisticated horn speaker systems were all there in Nippon as far back as the early 1970ies.

The low-fi amplifiers exported and sold to the western hemisphere were not the best they had to offer.
We just thought it was.
In fact the japanese high-end audio scene were 20 years "ahead" of us back then.
All what was "discovered" in the early 1990ies was in fact imported from Japan via France.