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THE ROGUE STEREO 90 AMPLIFIER
I wrote about my adventures picking up this amp in the October 2006
article. Although I had the amp by the 4th of September, I didn’t get it into
my system for several weeks. There were a number of things that had to be
done before I could listen to it.
While the Rogue could just fit into my equipment rack, it was immediately
clear that actually putting it in there would be a really bad idea. Its size and
weight would make moving it in and out really difficult; viewing the bias meter
and adjusting output tube bias would be impossible. Heat build-up would be
extreme even with ventilated shelves. A place on the floor was mandatory,
and that would require some sort of stand.
I spent some time looking around for a used amp platform and found no
used ones large enough or cheap enough to work. I also considered making
my own. The problem was that by the time I bought some decent
cones/spikes and used something better than a scrap piece of plywood, I
would spend nearly as much building it as buying it and it would still look
homemade.
I was browsing the Ultimate Electronics web site, as I had a 20% off coupon
from them, and found a Sanus EFAB II Stereo Rack base unit. This base
unit is approximately 22.5 by 19.5 inches and sits 5 inches off of the floor.
It is designed to be the bottom shelf of a modular equipment rack. A crackle-
finished black tubing base supports a nicely finished composite shelf. It lists
for $80 but with coupon was only $64, so I bought it. My initial impression
was that it seemed unnecessarily large for the Rogue but that changed
immediately when the amp was actually placed on it. The EFAB II comes with
both pads and spikes and I am using the pads on my carpet over concrete
floor. The weight of the Rogue, about 60 pounds, and the shortness of the
spikes—they would not pierce the carpet to the floor below—argued for the
pads. Click here for a photo.
I placed the amp stand in front of my equipment rack and moved my Hafler
bass amp up one shelf, to where the VTL had been, so I could reach it. This
provides the Hafler with better ventilation, shorter interconnects, and made
dressing the speaker cables easier.
I made the Rogue a new 12 gauge power cord. I also fabricated a 5 foot
long pair of DH Labs interconnects with Eichmann copper RCA plugs to reach
from the crossover to the amp. I couldn’t order the cable for the
interconnects until after I figured out how long it needed to be, which I
couldn’t determine until I knew where the amp was going to sit, so the whole
process took some time.
Rerouting the speaker leads took three tries but I was happy with the final
results.
All that remained was to modify the Dahlquist DQ-LP1 crossover for the
input impedance of the Rogue 90. The VTL 50-50 has an input impedance
of 135K Ohms while the Rogue is 200K Ohms. The change in parts values
was fairly small but I felt that it was worthwhile. While I had the LP1 apart, I
also replaced all of its electrolytic capacitors as these were around ten years
old.
Finally, the system was ready to try.
DESCRIBING THE ROGUE STEREO 90 AMPLIFIER
The Rogue 90 lists for $2,195 new and, as I have noted, I paid $1,150 for
mine, which is approximately two years old. It weighs 60 pounds and
measures approximately 18 X 16 X 7 inches. It is rated at 90 WPC into 8
Ohms, Ultralinear mode.
The Rogue Stereo 90 amplifier utilizes really basic, frills-free construction.
The chassis is stamped steel with only the sculpted faceplate offering any
sort of styling. The front of the unit has an on/off switch; a blue led
indicates that the amp is on. The transformers are so large and heavy that
you can feel the chassis flex when picking up the amp—if you can pick it up.
I have never seen an AC transformer this large.
The rear of the amp has one set of RCA inputs and one set of speaker
binding posts both of good quality. There is an IEC socket for the AC cord,
a fuse holder, and an Ultralinear/triode switch for selecting output power
modes. More on this later.
Internally, there is a bias meter; an insulated tool for adjusting the bias pots
is included. The tool has its own clip inside the amp for storage—a really
good idea. There is a five position switch that selects between operate and
each of the four output tubes. Bias is set at 35 mA on the meter. The
meter is a really nice feature, much appreciated after years of finessing meter
probes between hot output tubes on the VTL. Click here for an interior view
of the Rogue Stereo 90 Amplifier.
The Rogue 90 offers a choice of 4 or 8 Ohm outputs. Corresponding wires
from the output transformers have to be connected to the positive speaker
binding posts to set the desired output impedance. Not nearly as
convenient as having an extra binding post, while also eliminating the
possibility of making any sort of quick A-B comparison between the two
impedances.
I have done all my critical listening with the MG 10s connected to the 4 Ohm
outputs. I tried the 8 Ohm outputs briefly but heard no clearly identifiable
difference so I have stayed with the 4 Ohm connections. I will go back and
re-listen to both outputs at some future point. In theory, the MG 10s should
be very happy attached to the 4 Ohm outputs.
The Rogue 90 uses one 12AX7 as a phase inverter/driver and one 6SN7 as
an input buffer per channel†; output tubes are KT-88s. I received the amp
with Sovtek input and Electro-Harmonix output tubes.
INITIAL LISTENING
I spent what is, for me, an awful lot of money on this amplifier. I wanted
something newer, more powerful, and as good or better sounding than the
VTL. I turned it on for the first time with my fingers crossed.
The Rogue 90 powered up with no fuss whatsoever accompanied only by
some small tinkling noises as the glass on the output tubes expanded*.
My initial impression after the amp warmed up, which only takes about
twenty minutes, was that the Rogue had a slightly larger soundstage than
the VTL but with somewhat less precise positioning of the instruments within
it. These were pretty subtle differences. Otherwise, the sound quality of the
amp was very similar to its predecessor, which is a very positive thing.
I did a reasonable amount of listening to the amp with the Sovtek tubes but
was hot to try some other tubes since I had them.
I put in a pair of the NOS Westinghouse 12AX7s that I recently bought and
pulled the Sovtek 6SN7s to test them. The Sovteks fit REALLY tightly in
their sockets. I was actually afraid that getting them in and out could break
a solder connection. They fit my tube tester just as tightly. I decided not to
put them back into the amp.
I had gotten some 6SN7s with the tubes I bought in September so I
replaced the Sovteks with a used GE and a used Philco that both tested
good and very similar to each other.
There was a substantial improvement in the sound quality of the amp after
changing tubes. The soundstage was slightly bigger, extending to just
outside of the MG-10s. This improvement was evident with all sorts of
music. The lack of soundstage precision that I had first heard, while small,
now disappeared.
The music was also slightly more dynamic with a soundstage that sounded
just a bit more forward. This was all positive, resulting in slightly more
soundstage depth than I had before without sounding “forward” in a
negative sense. I think this amp was not as “lightly used” as advertised and
its tubes had considerable time on them. There exists the possibility of
further improvements when I can afford to replace the KT-88 output tubes.
The noise level with the re-tubed Rogue is so low that I can’t really hear
anything even with my ear to the speaker. I can sense something there but
it would be misleading to say that I can actually hear it. This is with the amp
and preamp well warmed up and the volume control set at my normal
listening level, which is about noon on the Audio Experiment.
Beyond these factors, the Rogue sounds slightly more atmospheric, maybe
even a touch lush compared to the VTL, which may be due to its low noise
level. Human voices of all ranges sound absolutely wonderful, especially
when sung a cappella. There is a very nice shimmer to cymbals while flutes
sound metallic yet in no way hard. Handclaps and foot-stomps such as
those heard on Joel Cohen and the Boston Camerata’s Simple Gifts CD
sound incredibly realistic. Even background applause sounds more like the
real thing.
And finally, the Rogue simply sounds more relaxed than the VTL, a product I
would hope of its higher power output. It may be controlling the
Magneplanars more easily than the VTL. I can only guess as to what the
Rogue is doing but I really like the result. In fairness to the VTL, there is a
substantial age difference between the two amps that may account for most
or all of the differences that I hear. It would be interesting to compare
Rogue 90 and VTL ST-85 amplifiers of similar age and condition**.
I listened to a lot of CDs after switching tubes and here are some of the
specific things I heard:
Dead Can Dance, Into the Labyrinth, 4AD 45384-2. On track 1, a beaded
gourd/maraca appears just outside of the speakers; I don’t recall hearing
this much width before. Sound staging and bass performance are
outstanding on the whole CD. On track 7, about three minutes into the
track, a somewhat distant voice appears in the left speaker. I jumped.
Suddenly, someone was behind the left speaker. That kind of realism and
surprise really do it for me. This is a fabulous sounding album, no matter
what system I have heard it on and the Rogue brings it much closer, in my
system, to the sound quality I have heard on some mega-buck systems.
I have a lot of CDs and I tend to forget how good some of them are as I
constantly add to my stash. Loreena McKennitt’s The Visit is one of those
CDs (Warner Bros. 9 26880-2).
Loreena’s voice is lovely and no matter how loud or high she sings it never
becomes shrill, glassy, or hard. It stays beautiful. This album has some
great low level detail that is never obscured but adds to the sense of live
people making music. The soundstage exists almost totally free of the
speakers. This is just a wonderful album.
I listened to Jackson Browne’s Solo Acoustic Vol. 1 many times when I first
got it and haven’t heard it since. It sounded every bit as good as I
remember and then some. For the first time, without any effort or intent on
my part, I can clearly hear a difference in his voice when he accompanies
himself with guitar as compared to piano/keyboard. This difference is just
there. On the piano, he is slightly less clear and somewhat more sibilant. As
I was listening, I noticed that certain tracks simply did not sound quite as
clear as other tracks and it soon became apparent that this corresponded
with which instrument he was playing. Wow.
Audience applause now wraps around the soundstage, speaker-to-speaker,
and sounds more realistic. Most of the shouted comments are more
discernable; they also sound like they are coming towards him from an
audience that is higher than the stage itself. There is also a clearer
separation of Jackson from the audience than I remember.
I felt like his singing also improved but I won’t swear to it. This is a great CD
and I hope there is a Vol. 2 eventually.
Tony Bennett’s Jazz album, Columbia CGK 40424, is a garage sale CD that
has been sitting around for a while. It’s a compilation of previously released
songs dating mostly from the late-1950s to the mid-1960s. Tony sings with
many great jazz performers. A couple of things made this album interesting
as well as very enjoyable to listen to.
The earliest tracks don’t even sound like the Tony Bennett we know. I did
not recognize Tony’s voice on “I Can’t Believe That You’re In Love With Me,”
recorded in December, 1954. I don’t think that it’s just the recording; his
voice is actually different. By the late-50s tracks, he sounds like the singer
we know now.
What really amazed me, though, is how effortless his singing is on this CD.
There is no apparent connection between a living human being and his
voice. His voice does amazing things that just knocked me out—and they
are done as though breathing were an option. He sustains notes for
incredible lengths of time. This is just an average sounding CD but his voice
transcends the limits of the technology in ways that left me stunned.
I am a big fan of Haydn string quartets and as I listened to the Kodaly
Quarter play the Opus 76, string quarter number one in G major, I felt like it
exemplified all of the Rogue’s positive traits. (Naxos 8.550314)
The highs are clear, open, and lack any trace of shrillness. The midrange is
expressive and moving; the mid-bass is full, masculine, and dominant.
There is something about the lower registers of the cello that really do it for
me. No matter whether the playing was fast or slow, bowed or plucked, loud
or soft, or actually silent, it was all extremely satisfying. The dynamics of the
performance were effortless.
The soundstage stretched from speaker to speaker with near-realistic size
and depth and, for the most part, existed apart from the speakers
themselves. I could hear the players breathe and, with my eyes closed, it
was easy to image that I was in the same room with them. It was
wonderful. It’s what makes me want to listen to music in my home.
Like the VTL, every CD I listened to through the Rogue Stereo 90 brought
its own environment with it.
I think the Rogue 90’s low noise and added power are substantial benefits.
The nice thing is they don’t come at an unreasonable cost economically or
with ridiculously unnecessary levels of power. I don’t feel like I am killing the
planet when I enjoy my system and that’s important to me.
ULTRALINEAR/TRIODE LISTENING
I got so wrapped up in enjoying the music through the Rogue that I actually
forgot about the ultralinear/triode switch. All the listening noted above was
done in Ultralinear mode. So, how does it sound in triode mode?
I rarely get to listen to my system in the dark. I really like doing so, though,
as there is less of a tendency to associate the soundstage with the position
of the speakers. I had some evening listening time while my wife was out of
town so I spent it comparing the Ultralinear and triode modes.
I used track 9 from Into the Labyrinth quite a bit as it has three female
voices, a flute, bells, reverberation and other sounds that I thought would
be useful for discerning any differences. The nice thing about the Rogue is
that you can change into and out of modes with the amp on. I wouldn’t try
it with a music signal playing but it worked noiselessly with the CD transport
paused.
The only difference I felt that I could hear was a slight diminishing of
dynamics on the Dead Can Dance tracks that I used. Other CDs did not
reveal even that questionable difference. I may be deaf but if there is a
difference between the two modes, it doesn’t show up in my system.
Different speakers might interact differently with the amp in each mode but
with the MG 10s any difference is not readily audible.
This is a question that I also intend to return to but for now I feel no
concerns that I am missing anything important by listening to the Rogue in
Ultralinear mode.
SUMMARY
I bought my Rogue Stereo 90 Amplifier seeking certain upgrades that
included having a newer and more powerful amplifier that would give me
wider future speaker options. I also hoped (prayed) that it would sound as
good as the amp it replaced and hopefully better. I got all I hoped for and
more.
It is unquestionably better sounding and I may not have the full measure of
it yet. I definitely want to try some different tubes in it. In normal listening,
it is not apparent that it is more powerful but it does have a more relaxed
presentation that I find I really like. Its soundstage is slightly wider than the
VTL. I think its soundstage depth is noticeably better. And it is absolutely
silent, even with tubes that date from my childhood.
To my ears, it is also dead neutral. Using all kinds of music, I heard nothing
that seemed to favor any segment of the sound spectrum.
For me, the whole point of improving the sound quality of my system is to
make the enjoyment of the music clearer and easier. The Rogue does that.
Everything that I have listened to has been a real joy.
I bought this amp, like so much of my system, without being able to audition
it and in this case found only one review*** to even use for guidance. If I
gambled, then I definitely won. Inside its industrial chassis, there is a
musical soul living in the Rogue 90. It’s been hard getting this review written
as all I really want to do is go listen.
Kent Johnson
November 27, 2006
*I have since noticed that I can hear some little noises as the tubes warm up
but I have to be right in front of a speaker to hear it.
**To be honest, I was looking for a used ST-85 when I found the Rogue 90
and thought, “Gee that might work, too.” I point this out because I am not
prejudiced for or against either amplifier. The VTL has been my reference for
years and unavoidably provides the basis for comparison. Their sonic
similarities, based on my limited experience, overwhelm their differences.
***The only review I found was in UHF (Ultra High Fidelity of Canada) issue
74. The review itself seems, to me, to be notably inconclusive; it’s unclear
in the main article whether the listening panel really likes the amp or not.
The individual comments by the reviewing panel—a system that I think is
really the ideal way to review any piece of equipment—are all highly positive,
though. So I put my faith in the individual opinions. This and the fact that I
felt that I could resell the amp without losing any money if I ended up
disappointed were really the factors that made me decide to get it. I hope
that it’s clear that I’m really thankful that I did.
†I took this information from the UHF review. If I have one quibble with the
Rogue 90 it is with the manual. There is very little technical information. It
lacks such details as the input impedance, the rated output power for 4 Ohm
Ultralinear operation, or any power rating for Triode mode. At the same
time, even I could follow the procedures for changing the output impedance
and biasing the amplifier, which were very well explained.
I wrote about my adventures picking up this amp in the October 2006
article. Although I had the amp by the 4th of September, I didn’t get it into
my system for several weeks. There were a number of things that had to be
done before I could listen to it.
While the Rogue could just fit into my equipment rack, it was immediately
clear that actually putting it in there would be a really bad idea. Its size and
weight would make moving it in and out really difficult; viewing the bias meter
and adjusting output tube bias would be impossible. Heat build-up would be
extreme even with ventilated shelves. A place on the floor was mandatory,
and that would require some sort of stand.
I spent some time looking around for a used amp platform and found no
used ones large enough or cheap enough to work. I also considered making
my own. The problem was that by the time I bought some decent
cones/spikes and used something better than a scrap piece of plywood, I
would spend nearly as much building it as buying it and it would still look
homemade.
I was browsing the Ultimate Electronics web site, as I had a 20% off coupon
from them, and found a Sanus EFAB II Stereo Rack base unit. This base
unit is approximately 22.5 by 19.5 inches and sits 5 inches off of the floor.
It is designed to be the bottom shelf of a modular equipment rack. A crackle-
finished black tubing base supports a nicely finished composite shelf. It lists
for $80 but with coupon was only $64, so I bought it. My initial impression
was that it seemed unnecessarily large for the Rogue but that changed
immediately when the amp was actually placed on it. The EFAB II comes with
both pads and spikes and I am using the pads on my carpet over concrete
floor. The weight of the Rogue, about 60 pounds, and the shortness of the
spikes—they would not pierce the carpet to the floor below—argued for the
pads. Click here for a photo.
I placed the amp stand in front of my equipment rack and moved my Hafler
bass amp up one shelf, to where the VTL had been, so I could reach it. This
provides the Hafler with better ventilation, shorter interconnects, and made
dressing the speaker cables easier.
I made the Rogue a new 12 gauge power cord. I also fabricated a 5 foot
long pair of DH Labs interconnects with Eichmann copper RCA plugs to reach
from the crossover to the amp. I couldn’t order the cable for the
interconnects until after I figured out how long it needed to be, which I
couldn’t determine until I knew where the amp was going to sit, so the whole
process took some time.
Rerouting the speaker leads took three tries but I was happy with the final
results.
All that remained was to modify the Dahlquist DQ-LP1 crossover for the
input impedance of the Rogue 90. The VTL 50-50 has an input impedance
of 135K Ohms while the Rogue is 200K Ohms. The change in parts values
was fairly small but I felt that it was worthwhile. While I had the LP1 apart, I
also replaced all of its electrolytic capacitors as these were around ten years
old.
Finally, the system was ready to try.
DESCRIBING THE ROGUE STEREO 90 AMPLIFIER
The Rogue 90 lists for $2,195 new and, as I have noted, I paid $1,150 for
mine, which is approximately two years old. It weighs 60 pounds and
measures approximately 18 X 16 X 7 inches. It is rated at 90 WPC into 8
Ohms, Ultralinear mode.
The Rogue Stereo 90 amplifier utilizes really basic, frills-free construction.
The chassis is stamped steel with only the sculpted faceplate offering any
sort of styling. The front of the unit has an on/off switch; a blue led
indicates that the amp is on. The transformers are so large and heavy that
you can feel the chassis flex when picking up the amp—if you can pick it up.
I have never seen an AC transformer this large.
The rear of the amp has one set of RCA inputs and one set of speaker
binding posts both of good quality. There is an IEC socket for the AC cord,
a fuse holder, and an Ultralinear/triode switch for selecting output power
modes. More on this later.
Internally, there is a bias meter; an insulated tool for adjusting the bias pots
is included. The tool has its own clip inside the amp for storage—a really
good idea. There is a five position switch that selects between operate and
each of the four output tubes. Bias is set at 35 mA on the meter. The
meter is a really nice feature, much appreciated after years of finessing meter
probes between hot output tubes on the VTL. Click here for an interior view
of the Rogue Stereo 90 Amplifier.
The Rogue 90 offers a choice of 4 or 8 Ohm outputs. Corresponding wires
from the output transformers have to be connected to the positive speaker
binding posts to set the desired output impedance. Not nearly as
convenient as having an extra binding post, while also eliminating the
possibility of making any sort of quick A-B comparison between the two
impedances.
I have done all my critical listening with the MG 10s connected to the 4 Ohm
outputs. I tried the 8 Ohm outputs briefly but heard no clearly identifiable
difference so I have stayed with the 4 Ohm connections. I will go back and
re-listen to both outputs at some future point. In theory, the MG 10s should
be very happy attached to the 4 Ohm outputs.
The Rogue 90 uses one 12AX7 as a phase inverter/driver and one 6SN7 as
an input buffer per channel†; output tubes are KT-88s. I received the amp
with Sovtek input and Electro-Harmonix output tubes.
INITIAL LISTENING
I spent what is, for me, an awful lot of money on this amplifier. I wanted
something newer, more powerful, and as good or better sounding than the
VTL. I turned it on for the first time with my fingers crossed.
The Rogue 90 powered up with no fuss whatsoever accompanied only by
some small tinkling noises as the glass on the output tubes expanded*.
My initial impression after the amp warmed up, which only takes about
twenty minutes, was that the Rogue had a slightly larger soundstage than
the VTL but with somewhat less precise positioning of the instruments within
it. These were pretty subtle differences. Otherwise, the sound quality of the
amp was very similar to its predecessor, which is a very positive thing.
I did a reasonable amount of listening to the amp with the Sovtek tubes but
was hot to try some other tubes since I had them.
I put in a pair of the NOS Westinghouse 12AX7s that I recently bought and
pulled the Sovtek 6SN7s to test them. The Sovteks fit REALLY tightly in
their sockets. I was actually afraid that getting them in and out could break
a solder connection. They fit my tube tester just as tightly. I decided not to
put them back into the amp.
I had gotten some 6SN7s with the tubes I bought in September so I
replaced the Sovteks with a used GE and a used Philco that both tested
good and very similar to each other.
There was a substantial improvement in the sound quality of the amp after
changing tubes. The soundstage was slightly bigger, extending to just
outside of the MG-10s. This improvement was evident with all sorts of
music. The lack of soundstage precision that I had first heard, while small,
now disappeared.
The music was also slightly more dynamic with a soundstage that sounded
just a bit more forward. This was all positive, resulting in slightly more
soundstage depth than I had before without sounding “forward” in a
negative sense. I think this amp was not as “lightly used” as advertised and
its tubes had considerable time on them. There exists the possibility of
further improvements when I can afford to replace the KT-88 output tubes.
The noise level with the re-tubed Rogue is so low that I can’t really hear
anything even with my ear to the speaker. I can sense something there but
it would be misleading to say that I can actually hear it. This is with the amp
and preamp well warmed up and the volume control set at my normal
listening level, which is about noon on the Audio Experiment.
Beyond these factors, the Rogue sounds slightly more atmospheric, maybe
even a touch lush compared to the VTL, which may be due to its low noise
level. Human voices of all ranges sound absolutely wonderful, especially
when sung a cappella. There is a very nice shimmer to cymbals while flutes
sound metallic yet in no way hard. Handclaps and foot-stomps such as
those heard on Joel Cohen and the Boston Camerata’s Simple Gifts CD
sound incredibly realistic. Even background applause sounds more like the
real thing.
And finally, the Rogue simply sounds more relaxed than the VTL, a product I
would hope of its higher power output. It may be controlling the
Magneplanars more easily than the VTL. I can only guess as to what the
Rogue is doing but I really like the result. In fairness to the VTL, there is a
substantial age difference between the two amps that may account for most
or all of the differences that I hear. It would be interesting to compare
Rogue 90 and VTL ST-85 amplifiers of similar age and condition**.
I listened to a lot of CDs after switching tubes and here are some of the
specific things I heard:
Dead Can Dance, Into the Labyrinth, 4AD 45384-2. On track 1, a beaded
gourd/maraca appears just outside of the speakers; I don’t recall hearing
this much width before. Sound staging and bass performance are
outstanding on the whole CD. On track 7, about three minutes into the
track, a somewhat distant voice appears in the left speaker. I jumped.
Suddenly, someone was behind the left speaker. That kind of realism and
surprise really do it for me. This is a fabulous sounding album, no matter
what system I have heard it on and the Rogue brings it much closer, in my
system, to the sound quality I have heard on some mega-buck systems.
I have a lot of CDs and I tend to forget how good some of them are as I
constantly add to my stash. Loreena McKennitt’s The Visit is one of those
CDs (Warner Bros. 9 26880-2).
Loreena’s voice is lovely and no matter how loud or high she sings it never
becomes shrill, glassy, or hard. It stays beautiful. This album has some
great low level detail that is never obscured but adds to the sense of live
people making music. The soundstage exists almost totally free of the
speakers. This is just a wonderful album.
I listened to Jackson Browne’s Solo Acoustic Vol. 1 many times when I first
got it and haven’t heard it since. It sounded every bit as good as I
remember and then some. For the first time, without any effort or intent on
my part, I can clearly hear a difference in his voice when he accompanies
himself with guitar as compared to piano/keyboard. This difference is just
there. On the piano, he is slightly less clear and somewhat more sibilant. As
I was listening, I noticed that certain tracks simply did not sound quite as
clear as other tracks and it soon became apparent that this corresponded
with which instrument he was playing. Wow.
Audience applause now wraps around the soundstage, speaker-to-speaker,
and sounds more realistic. Most of the shouted comments are more
discernable; they also sound like they are coming towards him from an
audience that is higher than the stage itself. There is also a clearer
separation of Jackson from the audience than I remember.
I felt like his singing also improved but I won’t swear to it. This is a great CD
and I hope there is a Vol. 2 eventually.
Tony Bennett’s Jazz album, Columbia CGK 40424, is a garage sale CD that
has been sitting around for a while. It’s a compilation of previously released
songs dating mostly from the late-1950s to the mid-1960s. Tony sings with
many great jazz performers. A couple of things made this album interesting
as well as very enjoyable to listen to.
The earliest tracks don’t even sound like the Tony Bennett we know. I did
not recognize Tony’s voice on “I Can’t Believe That You’re In Love With Me,”
recorded in December, 1954. I don’t think that it’s just the recording; his
voice is actually different. By the late-50s tracks, he sounds like the singer
we know now.
What really amazed me, though, is how effortless his singing is on this CD.
There is no apparent connection between a living human being and his
voice. His voice does amazing things that just knocked me out—and they
are done as though breathing were an option. He sustains notes for
incredible lengths of time. This is just an average sounding CD but his voice
transcends the limits of the technology in ways that left me stunned.
I am a big fan of Haydn string quartets and as I listened to the Kodaly
Quarter play the Opus 76, string quarter number one in G major, I felt like it
exemplified all of the Rogue’s positive traits. (Naxos 8.550314)
The highs are clear, open, and lack any trace of shrillness. The midrange is
expressive and moving; the mid-bass is full, masculine, and dominant.
There is something about the lower registers of the cello that really do it for
me. No matter whether the playing was fast or slow, bowed or plucked, loud
or soft, or actually silent, it was all extremely satisfying. The dynamics of the
performance were effortless.
The soundstage stretched from speaker to speaker with near-realistic size
and depth and, for the most part, existed apart from the speakers
themselves. I could hear the players breathe and, with my eyes closed, it
was easy to image that I was in the same room with them. It was
wonderful. It’s what makes me want to listen to music in my home.
Like the VTL, every CD I listened to through the Rogue Stereo 90 brought
its own environment with it.
I think the Rogue 90’s low noise and added power are substantial benefits.
The nice thing is they don’t come at an unreasonable cost economically or
with ridiculously unnecessary levels of power. I don’t feel like I am killing the
planet when I enjoy my system and that’s important to me.
ULTRALINEAR/TRIODE LISTENING
I got so wrapped up in enjoying the music through the Rogue that I actually
forgot about the ultralinear/triode switch. All the listening noted above was
done in Ultralinear mode. So, how does it sound in triode mode?
I rarely get to listen to my system in the dark. I really like doing so, though,
as there is less of a tendency to associate the soundstage with the position
of the speakers. I had some evening listening time while my wife was out of
town so I spent it comparing the Ultralinear and triode modes.
I used track 9 from Into the Labyrinth quite a bit as it has three female
voices, a flute, bells, reverberation and other sounds that I thought would
be useful for discerning any differences. The nice thing about the Rogue is
that you can change into and out of modes with the amp on. I wouldn’t try
it with a music signal playing but it worked noiselessly with the CD transport
paused.
The only difference I felt that I could hear was a slight diminishing of
dynamics on the Dead Can Dance tracks that I used. Other CDs did not
reveal even that questionable difference. I may be deaf but if there is a
difference between the two modes, it doesn’t show up in my system.
Different speakers might interact differently with the amp in each mode but
with the MG 10s any difference is not readily audible.
This is a question that I also intend to return to but for now I feel no
concerns that I am missing anything important by listening to the Rogue in
Ultralinear mode.
SUMMARY
I bought my Rogue Stereo 90 Amplifier seeking certain upgrades that
included having a newer and more powerful amplifier that would give me
wider future speaker options. I also hoped (prayed) that it would sound as
good as the amp it replaced and hopefully better. I got all I hoped for and
more.
It is unquestionably better sounding and I may not have the full measure of
it yet. I definitely want to try some different tubes in it. In normal listening,
it is not apparent that it is more powerful but it does have a more relaxed
presentation that I find I really like. Its soundstage is slightly wider than the
VTL. I think its soundstage depth is noticeably better. And it is absolutely
silent, even with tubes that date from my childhood.
To my ears, it is also dead neutral. Using all kinds of music, I heard nothing
that seemed to favor any segment of the sound spectrum.
For me, the whole point of improving the sound quality of my system is to
make the enjoyment of the music clearer and easier. The Rogue does that.
Everything that I have listened to has been a real joy.
I bought this amp, like so much of my system, without being able to audition
it and in this case found only one review*** to even use for guidance. If I
gambled, then I definitely won. Inside its industrial chassis, there is a
musical soul living in the Rogue 90. It’s been hard getting this review written
as all I really want to do is go listen.
Kent Johnson
November 27, 2006
*I have since noticed that I can hear some little noises as the tubes warm up
but I have to be right in front of a speaker to hear it.
**To be honest, I was looking for a used ST-85 when I found the Rogue 90
and thought, “Gee that might work, too.” I point this out because I am not
prejudiced for or against either amplifier. The VTL has been my reference for
years and unavoidably provides the basis for comparison. Their sonic
similarities, based on my limited experience, overwhelm their differences.
***The only review I found was in UHF (Ultra High Fidelity of Canada) issue
74. The review itself seems, to me, to be notably inconclusive; it’s unclear
in the main article whether the listening panel really likes the amp or not.
The individual comments by the reviewing panel—a system that I think is
really the ideal way to review any piece of equipment—are all highly positive,
though. So I put my faith in the individual opinions. This and the fact that I
felt that I could resell the amp without losing any money if I ended up
disappointed were really the factors that made me decide to get it. I hope
that it’s clear that I’m really thankful that I did.
†I took this information from the UHF review. If I have one quibble with the
Rogue 90 it is with the manual. There is very little technical information. It
lacks such details as the input impedance, the rated output power for 4 Ohm
Ultralinear operation, or any power rating for Triode mode. At the same
time, even I could follow the procedures for changing the output impedance
and biasing the amplifier, which were very well explained.