Subject: RUBY STD & SAPPHIRE 300b's

Roger,

Good to hear from you

HP [Harry Pearson -Absolute Sound Magazine] had told me to take the Sapphires home and use them as a reference. I even upgraded to using Emission Labs 300B-XLS tubes. Sounds so rich and juicy it should be outlawed. I also have the Ruby STD preamp in my system keeping everybody in line. The Sapphires sound amazing paired with the OMA Mini horn loudspeakers I have on loan. So effortless.

I hope all is well with you and your awesome creations. I have been told that the phono pre is something to behold.

Best,Joey Weiss, [ former set up man for Harry Pearson at TAS ]

Sea Cliff, New York April, 2015.

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Reference LENCO MKIII, Robert, Ottawa 2014

Subject: Uber Lenco turntable by Jean Nantais, Graham tonearm, Clearaudio Goldfinger cartridge driving the Sonus Faber Amati Futura speakers with WYETECH equipment!

I'm a latecomer to the world of audiophilia. After retiring in 2008, surviving cancer in 2009 and listening to outstanding music at my buddy Jim G's studio, I decided to take on the very audacious project of building my own studio, from scratch. I had no idea what I was getting myself into, but I got a tremendous amount of help, especially from Jimmy.

The first decision I made, probably the easiest but one of the most critical ones I had to make, was to go analogue rather than digital.... which immediately led to the second decision I had to make, finding a suitable turntable. Fortunately for me, Jim had a Reference Lenco Mk II, and the music it was producing, along with Wyetech's exquisite electronics, was what sold me to the project in the first place. So that decision was a very easy one.

Jean made the exterior of my table out of blood wood, and used wenge wood for the trim. It's absolutely stunning. There's a picture of it in Jean's gallery. I added a Graham Phantom Supreme tonearn and a Clearaudio Statement cartridge, and got a full complement of electronics from Wyetech, including a Ruby phonostage, a Ruby pre-amp, and Sapphire amps. When everything was ready, Jean came over to help me set the turntable up. After a few hours of tweaking, I felt the profound satisfaction of realizing that everything was coming together, even better than what I had hoped for. The sound coming from the Lenco and through the Wyetech equipment was rich, detailed, coherent, and came through with a beautiful wide, deep and stable soundstage.

In the months that followed, I was told that I had one of the better studios in the region, and I couldn't be happier. But last summer, Jean offered to upgrade my table to the Reference Lenco MK III standards. This upgrade included a completely redesigned chassis, a brand new main bearing and new motor mounts. I wasn't exactly sure what the upgrade would give me, but Jean assured me it would be worth it. He was so right. When I got the table back, I realized how much richer the lower frequencies had become. I was hearing timber, detail and coherency in the bass that I had never heard before. But the mods also allowed my Clearaudio cartridge to produce the level of detail and purity that it's capable of, throughout the whole spectrum. The soundstage became even deeper, wider and more centered than before, and I'm getting even more definition and separation than before. The MK III is definitively a major step-up over the MK II.

And very recently, Roger Hebert, owner of Wyetech, came out with his newest amps, the 300B Rubys. These amps are simply outstanding. When I heard them in my studio, I knew I couldn't resist. The combination of the new amps with the upgraded Reference Lenco MK III is simply breathtaking. Because of the genius of people like Jean and Roger, my studio is better than what I had hoped for when I started the project. And many thanks to my buddy Jimmy who really helped me pull it all together.

Bobby C

Gatineau, QC

May 2014

______________________________________________________________________

A completed all WYETECH *GRAND SLAM* SYSTEM

Subject: RUBY 300B XR MONOBLOCK AMPLIFIERS

I have the honor of owning the very first 300B Ruby monoblock amplifiers designed and manufactured by WYETECH LABS. For me, this completed a Wyetech Ruby Grand Slam, since I already owned the Ruby phonostage and the Ruby pre-amp, all of which match perfectly with my remastered Uber Lenco turntable by Jean Nantais, Graham tonearm, Clearaudio Goldfinger cartridge driving the Sonus Faber Amati Futura speakers.

There was no compelling reason for me to acquire the Ruby amps. I already owned the Sapphire monoblock amps, and was more than satisfied with the sound I was getting. I was told by more than one audiophile in the region that mine was among the best sounds they had ever heard. I was not looking to change a thing with my system ... until I heard the 300B Rubys.

The speakers just vanished, and the soundstage just exploded. But the most endearing quality of the Rubys as far as I'm concerned is the way they render the music so natural, so coherent throughout the whole spectrum, regardless of how softly or loudly you play it. The music just appears "in real time" with incredible detail and texture. You just never get tired of it. The bottom line for me is that the sheer enjoyment of listening to my favorite albums just went up by a very quantifiable amount, which is something I just didn't expect or even think possible.

When asked how he did it, Roger Hebert, the owner and designer at Wyetech, explained that the Rubys were the result of 5 years of design and development, with a unique and innovative amplification stage. They are extremely fast and powerful. Not just in watts RMS, but in the amount of power available at every instant. It doesn't matter what you throw at them, your just scratching the surface of the available power, which is why the music sounds so natural and coherent.

I think that these Rubys represent a major breakthrough for the audiophiles of the world. They are in a league shared by very, very few, and may very well be in a league of one. Time will tell.

Bobby C.

Gatineau, QC

January 2014

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WYETECH SYSTEM

Subject: SAPPHIRE, RUBY PROTOTYPE PREAMP & RUBY PHONO AMP

Associated equipment:

Lenco Classic turntable by Jean Nantais and

Acoustic Technologies speaker by designer David Maeshiba

Hi Roger,

I wanted to convey my thoughts and make some comments about the listening experience we shared together at my place the other day. As you know, the heart of my system consists of the Sapphire amps, Ruby prototype pre-amp and P1 phono amp. I enjoy both CD and LP formats equally so I have a decent digital source consisting of CEC transport and Audio Note DAC. For my LP playback I use the amazing Lenco Classic turntable built by Jean Nantais with all current upgrades. The speakers which I just recently purchased are the Acoustic Technologies 3 inch single-driver speaker. All of this is connected with very modestly priced cable such as Kimber Kable interconnect and Blue Jeans speaker Cable. My system isn't the most expensive in the world. I don't believe you have to break the bank to achieve good sound (well maybe a little).

I consider myself a music enthusiast rather than an audiophile. For me it's not about the equipment but the listening experience, the emotional connection to the music. The equipment is just the means to get you there and to say this system sounds good in my medium sized listening room is an understatement. I think we both agreed during the listening session that this is audio Nirvana. Everything you could ever want was present in the music that day. No matter what type of music we played, jazz, blues or classical it was all reproduced with perfection.

The Acoustic Technologies speaker with its single-driver design producing all that glorious music is hard to believe. This is one special speaker and I know you feel the same. Most listeners can't imagine one driver producing all that sound, but listening is believing. I've had other amps connected to these speakers and they sound good but for me they really shine when connected to Wyetech Labs equipment. The sound is very open, sweet and dynamic with a real natural tone to the music. The speaker produces a full bodied three dimensional image that fills the room. There doesn't seem to be any sweet spot. The music sounds great wherever you are seated in the room. I can't quite put my finger on it, but there is definitely something about the sound of a single-driver design that can't be reproduced with a multi-driver configuration but I'm not going to waste too much time trying to analyze why this is so. All I know is what I hear and that is good enough for me.

So really all of this just to say thanks to you and Jean and Acoustic Technologies for helping me achieve my goals of what I consider the best reproduction of music possible in my home, so thank you.

Regards,

TC

Ottawa May 16, 2013

***** Postscript by Roger Hebert

Like most manufacturers, I strive for perfection of design in my equipment, but have not been able to get the most out of them due to what I have perceived over the last few years of limited quality recorded source material. Well Tony is one of those special customers who knows his music and has some extremely well recorded CD's and LP's which he demonstrated to myself and Peter last Sunday afternoon.

I must now state unequivocally that the Acoustic Technologies speaker with its single-driver 3 inch Titanium cone design was responsible for bringing this system to a height never before reached by any equipment that I have heard in my lifetime.

Of course all else was fine tuned including the room acoustics which is most likely the second important reason for reaching what I would say "Nirvana" in sound reproduction.

Striving for perfection in sound reproduction has eluded me up until that afternoon. I thought that I had died and went to heaven listening to God's Angels, but alas, I did not die, although I did receive a letter from the CRA [ Canadian Government Revenue Agency ] stating that my estate owed money last week. I called the CRA and they said that it may take 3 to 4 weeks to straiten things out. Oh well, in the meantime, I'll keep breathing.

I have been of the persuasion that a single driver speakers would allow me to attain this sound in my own listening environment and have been eying the Voxative Ampeggio's [ US$ 32,000 ] ever since I heard them at the Montreal show 2 years ago. Well Tony has accomplished this with the US$ 2,500 titanium 3" speaker from Acoustic Technologies. BRAVO!

***** http://www.acoustictechnologiesllc.com/ *****

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WYETECH SYSTEM

Subject: OPAL, TOPAZ & RUBY PHONO AMP

Roger,

This feedback is somewhat overdue but as my vinyl source (Reference Lenco) has been evolving, I wanted to be sure of what I was hearing and writing about. A description of my system is provided in order to provide some context for my remarks. This system comprises a Wyetech Topas amplifier (audio note transformers, NOS GE 211 tubes, Shuguang 6SN7 tube, Teflon caps and all current upgrades); Wyetech Opal pre-amp (Teflon caps, 4 matched NOS Brimar 6SN7 tubes); Wyetech Ruby phono pre-amp; Coincident Super Victory II speakers; a Nantais Lenco Reference upgraded to Mk II levels, including the latest idler wheel modification, with a Graham Phantom II arm and Grado Statement cartridge; Adona Reference series amp stand and audio rack, and a Pure Power regenerator. The system is in a purpose-built room, optimized for audio. All of this to say the system is capable of very high resolution and more importantly, is very musical. I have had a serious vinyl habit since the late 60s with a blues and jazz focus. In the late 70s and early 80s, with a partner, I promoted (in a local club) blues acts from Chicago, New Orleans, Texas and the West Coast and for many years attended blues and jazz festivals in Chicago, New Orleans, San Francisco and Ottawa ? I know what well played and produced live music sounds like.

Having gone through a series of upgrades to the Lenco Reference, I can now report that the system is at a very high level of refinement. With the Lenco Reference as a source combined with very high quality reference recording such as: the 45 rpm versions of Harry Belafonte?s ?Live at Massey Hall?; Jenifer Warne?s ?Famous Blue Raincoat; Hugh Masekela?s ?Hope?; Tusoyshi Yamamoto?s ?Midnight Sugar?, any downstream weaknesses in the electronics will result in a musical experience that is less than satisfying. There are no weaknesses; the sound is relaxed while offering a very high level of detail retrieval (this seems like it should be a contradiction); there is no high-end glare; bass is extended, detailed and controlled; instruments are precisely positioned in the soundstage, which itself is wide and deep; and instrumentation and vocals are very natural that is, closer to what I have heard in live performances. The Grado Statement cartridge has a very low output (0. 5mv) but with the Ruby Phono pre-amp, I could fine tune the loading of the cartridge very quickly. I also like the fact that the system can be powered up and down with no noise. My listening sessions often stretch to 4 or 5 hours. Your equipment is non-fatiguing; it reproduces music where the intensity and musicality matches the performance and the quality of the source material - this is the highest level of praise that I can bestow on any equipment. Your build quality is unsurpassed and I am fully confident that the smile you have put on my face will last for many years to come ? thank you!!

Jim G

OTTAWA, August 13, 2012


WYETECH SYSTEM

Subject: OPAL, TOPAZ & RUBY PHONO AMP

Hi Roger,

There are more opinions about audio than there are variables and because of that I am generally reluctant to add my voice to the noise. Nonetheless, I feel I would be remiss not to relate my experience with Wyetech products which, by the way goes back at least 10-12 years. At that time I was what I would call a music lover and a quasi- audiophile. I mean that I had already accumulated a great many records in a variety of genres. I had started as a lover of Jazz and Blues but was very busy learning about classical music with a bit of a passion. I say Quasi because I did want to hear clearly, properly what was recorded i.e. maximize the value of my records but not a full fledged Audiophile in the sense that I did not listen to other systems, did not use audiophile language. What I did listen to was Live music at Toronto's Jazz clubs and New York's when I had the opportunity, at Massey Hall, Roy Thomson Hall, St. Lawrence Centre et.al

With my Opal and Topaz in place I could and did return home from a live concert, turn on the system and listen to say Ray Brown or Brahms or Carol Sloane without feeling let down. That was good enough for me.

However after many years enjoying this "paradise" things started to go wrong, a cartridge a speaker and finally an amp. I found that for one reason or another I was too often unable to listen to music which led to A) the purchase of back-up this and back -up that and B) an interest in learning more about and comparing equipment.

This means that after years of comparing Wyetech to live music now I was also comparing it to other electronics, including in my own and other systems. Here is the short conclusion...the Opal Preamp and the 211 Amps from Roger are the most nearly perfect pieces of audio equipment I have ever had or ever heard.

Part 2 - the phono stage

Ever since I first put Wyetech into my system over 10 years ago I have been asking Roger for a phono stage. Along the way I got tired of waiting and have had both tube and solid state phonos of the first rank. Now finally we have a legitimate Wyetech phono amp using a top RIAA module and taking advantage of Roger's own power supply. This is difficult to evaluate in the sense that there are so many possible settings for gain and load it can take quite a while to optimize for your cartridge. But one thing is clear and that is the music.

Listening to an all Wyetech system you feel as though nothing is added and nothing is missing. If the performance / recording is clinical and lacking in excitement then that is what you will hear. If the performers are moving and laughing and enjoying themselves as they play then you will hear that too. If it is possible to hear perspiration then this is what will enable you to hear it.

If I were a musician or a recording engineer who had put in the tremendous amount of work and talent to make a first class recording, this is how I would wish it to be heard.

For one reason or another, I was unable for over a month or more to listen thru an all Wyetech system. Putting it all together again made me very happy indeed. The excitement of hearing the performance at realistic volume levels in all its glory with no distracting electronic artifacts or weaknesses was exhilarating. I felt like the famous Russian composer Prokofiev upon hearing the brilliant pianist Slatoslav Richter play one of his (Prokofiev?s) piano sonatas.... he felt like he was hearing it for the very first time.

I recommend you listen to your records for the first time.

L.G.

MUSIC LOVER,

TORONTO, AUGUST 9, 2011


SAPPHIRE

Dear Roger and Israel,

Subject: NEW JADE, SAPPHIRE 300B AMPS & SUPER VICTORY

I have installed the music system with Roger's Sapphire amps and Israel's Coincident speakers. The resultant musical experience is sublime. The tonal texture of each musical instrument is audible, as is the sense of spatial depth of the orchestra. The technology has transcended itself, to make one feel in direct contact with the musicians without any technological intermediation. The music has such a pristine quality, one feels that one is hearing it at the very moment when it was played: Time and space are transcended by the beauty of the music. Alhamdulillah. God bless you both for enabling another human being to experience the sublime beauty of music. Warm regards, Akmal

Dr Akmal Hussain,

Distinguished Professor of Economics, Beaconhouse University,

Lahore, PAKISTAN June 23, 2010


JADE PREAMP

Hi ROGER,

Subject: NEW UPGRADED JADE

My old system with the Ayre k5-xe evolution preamplifier in it was definitely something special. But it did lack something I had a hard time describing.

Enter ?The Upgraded Jade.? (Hereafter referred to as the Jade)

The Jade, if one looks at the specs has incredible bandwidth. I asked an older electrical engineering friend of mine to look at the grounded grid circuit and tell me what will this do? He said, ?This will be incredibly fast.? But, what does all this mean in real life listening?

Unbeknown to me, my system has never had fully driven and well articulated bass, until I inserted the Jade into the system. I mean fleshed out realistic full bass, which I did not know my speakers could bring about. ?You must really love bass!? you say. ?No, I mean it is all there, not more, not less? I was getting less bass, because my old solid-state preamp, regardless of specs could not crack the whip to drive the amp properly.

The Jade?s unfaltering tracking of the wave of the music produces real-to-life balanced dynamics across the entire audible spectrum and beyond. No lifeless bass or abrasive high frequencies. The limitation is now the recording and the speakers and the amp in my system.

So, what does it sound like?

Music vs. System Analysis

It sounds like ?music.? Roger Herbert told me that, but I really didn?t get it until I quite literally got it, the Jade, that is.

If you suffer from over analysis, that will stop. You will instead be involved with the music and jaw dropping, muttering, ?I didn?t know it was possible.?

You will want to keep some CDs that you were certainly going to toss for being completely flat. You will probably have trouble removing previously lifeless CDs from the player (this is especially true for classical) because you simply must hear what is next. Your entire collection will be renewed.

Nina Simone will communicate a myriad of emotions to you, so that you will time travel back to another era. John Lee Hooker will blow your mind out with his real to life gravelly vocal blues that seem to be intertwined and rooted in the soil of the earth, while his guitar plucking rings clearly through the air into the space all around you. Diana Krall in Paris will receive clapping from an auditorium of lingering butterflies of clappers suspended around you down to the last clap, until the pitch-black silence waits for the next note. Trance music will bounce rhythmically, harmonious and melodic from the speakers and make you rise up and want to soar. Armin Van Buurin?s ?A State of Trance 2009? CD1 will carry you on a symphonic trance roller-coaster ride. Swing Dance Music will have you moving around the room flailing your arms like a fool. Only your amp and speakers or the recording will limit piano.

Billie Holliday will touch your heart and take you into history from the thirties. Satchmo recordings and Jelly Roll Morton from the 1920?s will be musical despite what may be missing from the recording. Giuseppe Di Stefano singing in Puccini?s Madama Butterfly (Testament Recording) will bring the fleshed out Opera accurately with all its emotional performance right to your ears and straight to your heart. Arias will sing to you. It?s all music!

There is palpable ?body,? ?seamless soundstage with depth,? ?rhythm? that will drag you out of your chair to dance like a fool, even if you?re alone, ?dynamism? that will move you, and ?realism? that will shock you. My system went from a ?you are there? with certain recordings to ?they are here.? The transformation was very significant. I have heard the term ?grunge,? and finally know what it means. If you have preamplifier ?grunge,? the Jade will get the ?grunge? out; all that sound that is there that you just let go that is some kind of indecipherable blur because of undifferentiated dynamics. I didn?t realize I had ?grunge.? But, it is gone now.

Gone will be the days of analysis. Enter the days of lying on the couch or sitting in your favorite music chair and fading into the drama of the music. Analyzing will become a nuisance that you simply cannot be bothered with. Rather, you will be much more involved in the music and then pondering what music you can play next. Keep an eye on the time so you don?t lose track or you won?t get any sleep.

Don?t rule out dancing around! You?ve been warned!

Tubes vs. Solid State

Does it sound really tubey? No. It may have a very slight glow, like an almost undetectable aura around the notes or the instruments (but that is primarily from my Tri-Vista Tube DAC source, which sounds absolutely wonderful for what it can do with realism and soundstage). And remember, if you do not know what to listen for you will not be able to even catch this. I did say ?slight.?

Any aura or glow is so slight that only months of listening and you may find it. I also like to play the Wadia 302 CD player as an optional input. This has much of what Wadia?s top of the line players have had designed into them and is hands down arguably one of the best CD players in the world. It is solid state. Detractors consider the Wadia sound ?too sterile.? Whatever the case, it produces some of the most accurate bass a CD player can muster with full dynamics and portrays singers accurately and realistically, as well as anything else played through it. All of that passes through the Jade and produces fleshed out accurate dynamics and just a touch of tube harmonics that bring it all to life.

The other thing to mention is that the Jade truly drives the solid-state Plinius SA-102 amplifier fully. This means the speakers are driven by a new master. And now the sub-woofer and the speakers with the rest of the system work like a Ferrari together. In the car analogy, the Jade is more than a tune-up; it is like adding a new engine (at least in the case of my system).

The Search for the Ultimate Preamplifier

Finding the Wyetech Jade was a hand-wringing exercise that literally went on for years of analysis paralysis to prevent purchase mistakes and to identify the majority of the right qualities under the hood and traded off against goals of features, useless gizmos, the right tube (6SN7 and not miniature variants like the 12AU7, 12AX7, 12AT7, 6DJ8, etc?) and the right qualities (0 dB NFB), components (the very best resistors and connectors), huge bandwidth, low noise (without feedback every single component is adding noise). You do not want a single component in the signal path that does not need to be there.

---------------------a flaw in my system exposed------------------------------------

I did loose the preamp-to-amp protection from external noise by going single ended with the Jade?s RCA-to-RCA interconnects as the only choice. I am actually getting very low level Radio Frequency Interference (RFI) on the right channel (of the Plinius SA-102 amplifier) due to no more use of the Plinius?s XLR balanced input to eliminate the ridiculous absurdly expensive Tsunami Plus power cord (antenna?) I use (changing the Plinius SA-102 amplifier bias into full Class-A begins to draw much more current through the power cord to the Plinius Amplifier and creates a significant radiating field at 60 Hz near the right channel input of the Amplifier.

That is not supposed to happen with proper grounded shielding. The right channel is receiving, the Tsunami power cord is transmitting? I wonder what happened to the shielding on this overpriced power cord that looks like it is on steroids. This is not the fault of the Jade; it merely exposed a problem in the system, when using the amplifier?s RCA (the only possible option with the Jade) verses balanced inputs. Yes, the RCA cable is shielded, but it does not stop this magnitude of near field RFI. Still you generally have to stick your ear closer to the speaker to pick up on this relatively minor problem.

-------------------a flaw in my system exposed----------------------------------------

This is a ?purist design,? so you have to give up the love affair with the remote and the digital read out. I thought I had to have those things, but Wow! Now I?ve got music.

This is a preamplifier for audiophiles that cannot or will not invest $20,000 dollars into another preamplifier out there to best it. There are some other preamplifiers out there that are said to be rather special and I am sure they are?however; there is only one Jade.

Although, system synergy is important it is hard for me to see a situation, where the Jade would not be musical, except for a really high gain amplifier combined with high output wattage (talk to Roger for these values, note my amplifier is 32 dB gain with 125 Wpc output in a small townhouse living room; I am at or under 9:00 (-38 dB on his selector) on the Volume control most of the time). I think that system parameters like mine may limit your flexibility with fine tuning the volume control depending on room size and speaker selection (mine are 90 dB/2.83 volts /meter for sensitivity) and location. Your first choices of Volume are: -60, -50, -46, -42, and ?38 dB. On the other hand, one does adapt and does get use to the new adjustments.

Channel separation is excellent with the Jade and paints a seamless musical panorama. Absolutely no channel-to-channel crosstalk or noticeable input-to-input crosstalk with the Jade. White Gaussian Noise introduced by my actual Jade unit is only detectable by moving your ear within a few inches of the tweeter and does not appreciably increase by increasing the volume. There are no problems in this area. The Jade does not create noise or bleed the signals around. Rather, the Jade makes music and maintains signal purity at the relevant levels of human observation.

Conclusion

How do I feel about upgrading or replacing the Jade? This is one of those rare finds. If the Jade actually dies before I do, then I have some ideas of things I might try, but I can tell you from extensive research there is nothing out there like the Jade. Also, it should be ultra-reliable, because of its simplicity of circuit, build quality and component quality choice. It is a uniquely designed masterpiece that does everything right musically. The designer made all the right and necessary choices according to my research and

Will I change my system in the future? The Jade is really a keeper. ?You can pry the Jade from my cold dead fingers,? have been among my thoughts on this preamplifier.

The Upgraded Jade is a clear winner (because it is so involving musically!) and I do own it, so I can now say that with authority. What nit would I change, if I could? I might have a volume control with more gradations at the lower end, but again this is a function of my very high gain amplifier (32 dB) and high wattage amplifier, speaker placement, listening room size and neighbors on both walls.

I bought the Jade brand spanking new! These are not going to be made forever. It is a keeper and you cannot go wrong! And, beautiful to boot! You can use this beauty in a lot of combinations and I really don?t think you will need to waste your time on tube rolling. I did buy it with the NOS JAN 6SN7WGTA tubes and it sounds musical and marvelous to my ears.

Cheers! And,

Sincerely,

Matthew John Hammett

Audiophile

Electronics Engineer (BSEE)

Reston, VA

Owner of Upgraded Jade # 078

12/27/2009

EQUIPMENT USED:

*The Upgraded Jade Preamplifier (set to 5.5 dB low Gain? setting)

*Plinius SA-102 Solid State Amplifier w/Class A bias switch, 125 Wpc, 0 NGF resting on Sound Anchors with spikes

*B&W Nautilus 803 loudspeakers resting on Sound Anchors with spikes (Decoupled on acoustic pads and damped with spikes on damped feet held by gravity on Marble on a rug on plywood floor.

*Velodyne Sub-woofer (Teflon rounded feet decoupled on Marble on rug on plywood) *Sound room less than ideal, but open.

*Sony C555ES SACD carousel digital out

*Musical Fidelity Tri-Vista Tube DAC 192 kHz sampling limited edition--1400 made (w/ Burr Browning DACs and sub-miniature tubes in output)

*Wadia 302 entry-level Solid State CD player (Philips Transport; proprietary DACs)

*All RCA-RCA Single Ended (SE) connections.

*Ayre k5-xe evolution Preamplifier

*All equipment powered up 24/7 connected straight to wall (with no Power Conditioners)


TOPAZ 572B

Hi ROGER,

Subject: TOPAZ ADAPTER 12B4A

The adaptor arrived the day after our last correspondence, I had a delay inserting it as I was in the middle of adjusting and breaking in a new cartridge using Wally's new cutting edge set up procedure, I believe I had sent you a jpeg of my stylus on record blown up to 200x with SRA and VTA measurements. Anyway I hate making 2 changes at once so it sat for over a week before I got around to putting the adaptor in with the 2- 12B4A tubes. Ear brain interpretation is a funny thing and I strongly believe that your frame of reference (your system, assuming of high quality) is a prejudice/standard in which you judge likes and dislikes. At first, and I mean less than 1 hour, I felt it softened things up a bit to much, scaled back some micro-dynamics and leading edges were perhaps a bit more rounded. It was very pleasant but perhaps a bit softer than I, currently, preferred. I put the stock 6BX7 back in and all was back to normal, except for some strange reason the staging, placement of performers and a sense of more naturalness was missing. Yes the 6BX7 was fast, micro-dynamics and leading edges were stunning the "palpable presence" I go on and on about was there in spades but it didn't quite have that magic. What's up? I had to grapple with the why's, why did this new driver tube adaptor (12b4a), that seemed to lack things that I felt were so important to my listening pleasure, why did it draw me in? So I continued my comparisons a full evening with one then the next evening with the other and some times 3 LP's with one then the same 3 with the other. Yep, the differences I first heard were still the same, but I just liked the 12b4 better, why? Then......

After 20 or so hours with the new adaptor, either my ear brain become more accepting of this slightly different sound (see, frame of reference) or did this just break in and become one amazing window in which to see music. I thought I was just becoming more used to it's sound, altering my frame of reference, but record after record, many of which I had played many times thru the years and even some I had thought good music but crappy recording sounded different, all more natural, the presentation was more 3D hologram-ish, captivating in a way I have never heard from a reproduction of music before. The speed was there, the micro-dynamics exceptional, the resolution up to a new level of transparency. The placement of performers, a natural sounding hologram. Palpable presence was up a few clicks from before Leading edges were sharp, but there was never any aggressiveness, grain if you will, from the recordings and sometimes with the 6BX7 there was some grain and electronic hash which until now was the lowest level I had ever heard before, but the 12b4a's took everything to a new level.

Two longtime audiophile friends stopped by this past week, ones I have known for over 15 years they both left in amazement at the systems naturalness, dynamic abilities and resolution. Everything just sounds more real, spooky in a way, but I am grinning ear to ear and crying inside as I have to leave for a couple of months and I can't bring it with me. Did my "frame of reference" change? Hopefully, cause it's just better. Most realistic presentation of music I have ever heard. Kudos' to coming up with the idea of this new driver (tube) arrangement, it makes the 572B the best amp in the world!! Thank you!!

John Makela,

Chaska, MN. USA

December 20, 2009


TOPAZ MONOBLOCK 211

Hi ROGER,

Subject: amp repair

Just wanted to write, say hello, and thank you very much for your aid in getting the amp back up and running. My repair person, who is also working on his own line of speakers, was very much impressed with your amp and thought it better than the Lamm, which I have not heard. All I can say is the music is there and even knowing that it is modified there is no looking back, just more and more forward to more and more music from it. Again Thank you,


MiKE K,

CALIFORNIA. SEPTEMBER 11, 2009


NEW UPGRADED JADE

Hi Roger,

The Jade was delivered this morning and arrived in perfect condition. Excellent packing, by the way?.

After reading rather quickly through the Owner's Manual, I set up the preamp with no problem and commenced, what is at this writing, a 3+ hour listening session. I'm flabbergasted at how much more music I'm hearing!

I started with one of my favorite CDs - TACET #74 "Die Rohre - The Tube" - and cannot believe the high-end extension in the strings on track 1 , the wonderful Boccherini piece, that for years was completely absent!

I then moved to Renee Fleming (DECCA 289 467 049) and was astonished by what I would describe as the organic wholeness and true three-dimensionality that I heard in her voice a few years ago in recital at the Houston Grand Opera. Amazing!

Right now I'm playing a CD that for years I've thought contained an excellent recording of solo piano - DINEMEC Classics DCCD014 - Jeremy Menuhin playing Franz Schubert's "Six Moments musicaux", D780. Well, the Jade has taken this experience to an entirely new level - of overall clarity, transient response, and, as well, greater ease in perceiving the decay of notes. All of these add up to a remarkable improvement in the perception of "real presence", as if I can now fully convince myself, with eyes closed, that Menuhin's piano is a scant 14 ft. away from my listening position. (Sadly, it appears that DINEMEC, a fine Swiss-based label, is now defunct.)

I really must emphasize the perception, in all the solo piano music I've played this morning, of awesome transient response, which I at first hesitated to affirm, being caught in the old perception that tubes just can't act that way. But I quickly realized that the vast improvement in overall "clarity" I was hearing was a by-product of the transient response of this preamp. Incredible - no bloat, no fat, no tube cholesterol!

I also have the feeling the Jade has finally allowed my amp to sing, to deal it every nuance it can possibly handle, and the synergy is wonderful. This was revealed by the hitherto unheard low-end power in the opening bars of Francis Poulenc's "Organ Concerto" - Ondine SACD ODE 1094-5, Eschenbach & Philadelphia, with Oliver Latry, organ - followed by the beautifully soft string chorus and delicate upper-register organ notes.

In a nutshell, the Jade blew away my Boulder L3-AE in every audible dimension, and opened up the windows to the music, windows that were shuttered closed and coated with smog for years!

Your comment on your web site that the Jade will likely become the strongest component in one's system (or words to that effect) is clearly the case in my system today.

[ SECOND LISTENING SESSION ]

Last night after dinner I was listening to, among other pieces, the 4th movement of Mahler's 6th symphony - Ondine SACD: ODE 1084-5d, Eschenbach & the Philadelphia Orch. - in which the bass drum is used liberally throughout. However, on two or three occasions (especially at 17:50 and 30:04 into the movement) it is wickedly smashed, as the intensity of the music increases.

For the first time during these instances, I was able to hear the palpable "texture" of the drum skin in vibration, which imparted the wonderful perception of "real presence" that I enjoy so much. I had the sense that I was hearing deeply enhanced resolution, bounded overall by the Jade's fabulous transient speed, almost as if the damping factor of my amp had dramatically increased.

The bottom line is that I'm at last hearing the true sounds of the instruments within a far more realistic orchestral matrix, so to speak, with major improvement in the deep low-end and in high-end extension, as if the overall bandwidth of my system has been quite audibly improved.

My system, 2 channel stereo:

Amplifier - Audio Aero Capitole

Preamp - New Jade by Wyetech Labs

Digital - Sony XA9000ES SACD/CD

Speakers - Mirage M3 with soft dome tweeter

ICs - JPS Labs

Speaker cable - JPS Labs bi-wire

Vinyl - VPI TNT Jr. ttbl, Origen Live Silver tonearm, Dynavector Karat II cartridge

Phono preamp - Plinius M14

All of the above plugged into an APC S15 UPS/power conditioner.

Best regards, Bill

Cypress, Texas

JULY 10, 2008


TOPAZ 211C

Hi Roger,

I recently sold my Wyetech Sapphires (which were singing when I let them go), but have not looked back after the purchase of the Topaz 211 C. This is the amp with the Audionote transformers. This amp is stunning in its vivid presentation of music, both sung and played. I happen to own the Wyetech Opal pre and served up front by the Reimyo CD player. This is a killer system that approaches reality in the Topaz's presentation. Unparalleled transparency, accuracy of tone and timbre, expressive dynamics and immediacy is what this amp's about. I use hi efficiency speakers from Brenthworth labs. The speakers are coherent, fast, and lively. While the bottom end will not send you out of your seat, it is deep enough and provides the dynamic shadings of the base notes that is exhilarating and a marvel. Needless to say, I am a big Wyetech fan. Build quality is the best and the products are built to last a lifetime. The Wyetech products are keepers until Roger delivers a higher end model.


Stoney40 November 3 2007


TOPAZ 211C

Hi ROGER,

Thank you so much for the update. After all my research and listening I am definitely a Wyetech man! The other product that I found intriguing was from Shindo Labs (Japan). But in head to head comparison, and mind you the Shindo is quite compelling, your products remain my preference. The Topaz is an amp with qualities I find rare. I did find some new old stock GE 211 tubes. It is too bad there is not more of a reliable supplier. These tubes take the Topaz from stunning to jaw dropping! I understand why this amp is considered one of the best in the world. Take care


Ralph Boyd, Los Angeles, CA. SEPTEMBER 15, 2007


SAPPHIRE 300B

Goodmorning ROGER,

My system consists of your Sapphire Monos, BPT BP-3 Signature (power conditioner) for all components other than amps, Bat 51SE pre-amp, Magnum Dynalab 108 tuner, Audiomecca Mephisto II.X cd player, Avantgarde Duo speakers upgraded to Omega series, mainly Shunyata power cables & interconnects and GPA Monaco component & amp stands. The Sapphires are magic with the Duos, exquisite midrange and the bass is as controlled and authoritive as with the previous big boy tube power amp. The Sapphires seem to be "battleship" built, and are absolutely "deadly quiet" (and I'm currently using the mid setting - 25db gain). Also, it's a bonus to be able to correspond (and receive a reply) from the designer / builder Roger of Wyetech. A highly recommended buy


SINCERELY, ED KING, CANADA May 07, 2006


CORAL preamp and ONYX amplifier

Hi Roger,

Just letting you know my opinion on the overall sound of your CORAL & ONYX MONOS in my system . When I used my solid state pre & amp, I was unhappy with the quality of my speakers mid range sound . When I added your CORAL preamp to my SS amp, the sound improved. Now with your ONYX amps, the sound is amazing. I find the voices and instruments sound CLEAR & ACCURATE . The overall sound is CLEAN , DETAILED & NATURAL . I love the midrange now . I'm also very impressed by the amount of TIGHT & DEEP bass . So much for SET gear being weak & bloated in the bass region . You did an excellent job designing , & producing high quality stereo gear . I also love the look . I'm 100% happy with purchasing WYETECH gear.

Many thanks Roger.
DAN Dufresne April 6, 2006


TOPAZ 572-10 tube vs PX25 tube SET amplifiers

Roger,

In my experience the PX25 has a roundness to the sound that the Topaz does not, What I mean is, performers and instruments are full and luscious, slightly larger than life, 3D like with the PX25. You get the breathy quality with the PX25's (I had the mono block version of Joe's amp). Compared to my 2A3 mono's the PX25 had more power and punch, better on the frequency extremes. Microdynamics, stage width and depth, and separation were all better with the PX25 compared to the 2A3 mono's I had. In short they are wonderful amps.

Then there is the Topaz, and my writing skills (or lack of) make it difficult to describe this wonderful amp. It is yin and yang all together. It has the control at the frequency extremes that make you think you are listening to push/pull or solid state amps. Rhythm, pace and drive are excellent. It has the best micro and macro dynamics I have ever heard for a tube amp. The stage width and depth are up another notch from the PX25. The performers are clearly defined in space with a level of air, solidity and transparency that I have not heard before (The PX25 is rounder and fuzzier at this). Performance technique is clearly defined with this amp as you can really hear into the performance. The soul of the performer is rendered before you. The amp has that SET magic, yet has all the power and control to deliver a full orchestra fortissimo. Played at low volumes the amp still delivers, still has the magic. In short the Topaz combined with the other electronics in my system and Wally's wonderful Flex speaker is the best sound I have ever heard period. I have season tickets to our orchestra and I am very familiar with the sound of live unamplified acoustic music. This amp does it the best. I have never played so much air guitar, conducted the orchestra, or even got up and danced like I do with your amp. It puts the music in my soul, what more can you ask of any component.

Thank you.
John Makela / Minneapolis, USA June 7, 2004


Something new: comments from a non-customer

I got an education in this last night, when I heard the new Sapphire 300B monos recently announced by Wyetech Labs. These are remarkable amps. They are 18 wpc parallel 300B's that have deep, controlled, resolute, thunderous bass that I've never heard from any tube amp before, massive dynamics, remarkable micro-detail, impeccable transient response and a purity of tone that goes right up the spectrum and covers the full volume range. I was transfixed by what they did right. In the end, for me they inspired more admiration than love. I apparently need different audio tickles to keep me happy.

You could argue that the Sapphires are more neutral and faithful to the original signal than other amps, and I'd agree. For many people these amps are going to be search-enders - they're that good. But I kept missing the sheer extravagant expressivness of the PX25s I've been listening to for most of a week now. For me, that's where the music lies, not in the laundry-list of audiophile attributes that are easy to describe in reviews. The PX25 may be more coloured than the Saphhire, it may have less slam, but the dumptruck load of eloquence it drops in my lap more than compensates.

Paul Chefurka

Posted on AudioAsylum, May 07, 2004


Sapphire 300B EH vs. FM TJ mesh plate premium gold 300B's

Hi Roger,

Here are my points regarding improvement with TJ 300B tube:

  1. Better individuation of instruments and quieter background
  2. Bass is more articulated and natural sounding
  3. Slight midrange glow which may actually be more accurate , not overly euphonic and very pleasant
  4. Overall sound is more lively and lifelike
  5. Soundstage increased in width and positioning of instruments seemed better defined

Bottom line... with the NOS tube its gonna be really hard to beat, and I'm not sure if I heard better sound I could recognize it or describe it. That was just pure music.

Rami H. Ottawa

8/13/2003..posted 5/12/2004


Dear Mr. Hebert:

My Topaz Monoblocs have ~100 hours on them now. Brian tells me they'll keep getting better for another 200-300 hours but, even so, I think a valid appraisal is possible. They are the best amps I've ever heard. Like the Opal they are better by so much that it really doesn't matter what comes in second or third place. I hear no evidence of technology or topology. They don't sound like any other tube amp in my experience; nor do they sound like any solid-state amp. Again, like the Opal, they sound like something other; and that "other" is the sound of live music in a real space.

Living in greater Boston affords me the pleasure and privilege to hear music in Symphony Hall, generally acknowledged as one of the finest acoustical spaces on earth. I'm well acquainted with the sound of a wide variety of music played there, and I've any number of LP's and CD's recorded there.

The Opal/Topaz gear is the first that presents music so faithful to "live" that, whatever deviations from "live" may exist, are not easy to apprehend and, more importantly, are inconsequential to the enjoyment of the music.

The lower three octaves are especially notable. There is, at least in Symphony Hall, a weight, warmth, and authority from Basses, Cellos, Contrabassoons and the like, not to mention the orchestra at full throttle, which I've, until now, never heard reproduced with any resemblance to the real thing. Bass impact is either eviscerated, hyped, smeared, cold, monotonal, or otherwise botched. With the Topazes, miraculously, I hear essentially what I hear at 10th to 15th row center. It's downright spooky! And addictive.

The rest of the spectrum is beyond reproach as well. Simply the most real sound I've heard to date.

These products are a monumental achievement, and I agree with Brian’s statement that they are the most neutral components in existence.

Your products have enriched my life and promise to do so for years to come. It is so satisfying to know that they were designed to last, apparently, for eternity rather than for a three to five year "upgrade" or replacement.

I really am in awe at your accomplishments and I'm absolutely thrilled to own them. In the here and now they're the only truly final purchases I know.

John Z.
Maine, USA
March 2004.


Dear Mr. Hebert:

I am a fortunate man indeed! I have the honor and privilege of owning Opal # 033. For 44 years I've sought to reproduce the sound of a live musical event. The Opal gets me infinitely closer to that goal and reveals that a vast chasm separates it from all other preamps I have heard. It is not simply better in degree; it is better in kind. And supremely so. It is so good that I have ordered two Topaz Monoblocs even though I've never heard them or the stereo version. Brian Ackerman has good ears and tells the truth. It was on the strength of his advice that I bought the Opal. I don't know how you found Brian, but, you couldn't have found anyone better to represent your products.

John Z.
January 2004
Maine, USA


Hello Roger,

I wish to express my gratitude for the warm hospitality received and musical entertainment at your home last Friday evening. It was a pleasure meeting you, auditioning Wyetech Labs equipment and discussing the facts and fiction of the current audio industry. Your equipment is a pleasure to behold and I'm certain an even greater pleasure to own. In comparison, I can never recall listening to music sounding so realistic and dynamic through a transistorized amplification chain. Previous listening experiences via push-pull vacuum tubes was pleasurable but nothing near what I heard last Friday!

It's time for the Xxxx Xxxxxxxx gear to hit the want-ads!

Sincerely,

Stephen C.
Ottawa, Canada
May 22, 2003


Roger,

I have opened up and worked on a whole lot of equipment over the last 20 years or so. I have to say the Coral is absolutely stunningly executed inside. Circuit board and all. The Jade and Opal are, of course, great as well, but your circuit board execution and the way you tie to it and the stainless steel hardware and the case construction, man, I just wanted to compliment you on yet another superb product. The sound is great as well. We have got to get your stuff more recognition somehow!

Marc Rusch
North Country Audio
December 4, 2002.


Hello Roger,

I just wanted to let you know that, after living with them for the last few months, the Opal and Topaz 572B are truly the most amazing components. Hooked up to the Brentworth threes, they give the most believable presentation with well-recorded sound that I have ever heard. To my knowledge, no other system gets the attack, sustain, release, delay thing as well as this -- not to mention harmonic follow-through, timbral accuracy, bloom, whatever. Imaging is fantastic. I've been auditioning CD players and vinyl playback gear and usually find the demo systems so lacking that I can't wait to get back home and hear my own. On top of the sound, it’s been a pleasure dealing with you and Vladimir. Great job. Keep up the good work. Thanks for being there.

Jerry M.
January, 2002
New York, USA


Roger,

I think the time has come to make my first meaningful assessment of my new system. One word: astounding. Better yet, no need for word(s). It was pretty tedious to try to make so many comparisons as I did a wholesale upgrade of every component and wiring. Topaz-Opal versus Cary integrated; Meridian 508.24 CDP versus the Audio Aero Capitole 24/192; VSM versus Fried Studio V. Then, a whole lot of mixing and matching and A/B comparisons. Had my wife help me out; it drove her nuts. I also had her play some cello suites right in the living room too. A seventeenth century Jacques Bouquet cello versus Wyetech+Audio Aero+Merlin+Nirvana.

The bottom line: your components are basically masterpieces. I'm not trying to falsely justify the large amount I spent but the Topaz-Opal are truly exceptional. My wife gave me a hard time to justify my investment, but she herself is convinced -- the return is there for her hearing. She tried to bash me with her cello (she was a former professional cellist) but the Topaz-Opal kept their ground. She's almost in tears when she listens to Rostropovich manhandling his cello in Bach's cello suites (EMI CD) performed in a cathedral in France via Topaz-Opal. The Cary somewhat muffled the distinctive echoing of the venue, and the "woodiness" of the cello was also too "thick" with the Cary. With the Topaz-Opal, it was so natural and "right" -- the clarity of the echoing, the "woodiness" of the instrument, the extreme accuracy of location (you can so clearly "see" how Rostropovich is turning his cello to the side, his body swinging left and right as he mesmerises the listener with his cello).

Whether the speakers were Merlin or Fried, the Topaz-Opal allowed me to know who was running the show. No exaggerated sweetness and bloom, just so correct and right and very refreshing. It's like a perfect jug of German draft beer chilled to 6.5 degrees centigrade -- too good for words; you just have to feel it.

Things were initially thin sounding -- not to mention how the cables were somewhat forward -- but everything now seems to fall in place. The system has sprung to life with bloom and body. The most spectacular thing I noticed is how the Topaz-Opal imaged in space. Not one bit of image-wonder. Focus was incredible and delineation was razor sharp but not in isolation -- the Cary sometimes made a blob out of separate instruments and I guess these separate blobs integrated to give it a sweet sounding character. With Wyetech, the separation was there but the integration was what makes it so special -- I can't quite seem to put it in words except to say it is natural and correct.

And the lower registers. I was previously quite content with the "heavier" (and lazier?) sounding bass of the Cary but the Wyetechs are giving me something extra special: clear, tight and snappy lower registers. It's just so tidy and yet it delivers the punch (killer blow) in such a civilised and luxurious manner.

Kwang-Ho [ Kenny ] K.
September, 2001
South Korea