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,
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:
- Better individuation of instruments and quieter background
- Bass is more articulated and natural sounding
- Slight midrange glow which may actually be more accurate , not overly euphonic and very pleasant
- Overall sound is more lively and lifelike
- 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