Robin Wyatt is a good egg, a mensch, a stand-up guy. Not only does Robin create badass listening rooms and occasionally shower attendees with fine scotch; he's also generous to a fault. Most recently, Robin donated a Miyajima 78 cartridge to The Hot Club of New York, which plays 78s on a restored vintage system. It's a must-hear room if you're in New York's Flatiron District.
In New Jersey, Robin joined forces with Bill Magerman and Nick Fitzsimmons of Rogue Audio to create a superb-sounding system featuring the world debut of the Rogue Audio M250 Ultra monoblock amplifiers ($TBA). The system also included the VPI "The Can" direct-drive turntable ($15,995), Bird of Prey tonearm ($15,950), TZAR DST V1 stereo cartridge ($10,150), and Robyatt Audio MC-3 SUT ($1095). A Rogue Ares II Magnum phono stage ($2995) was also in the system, as was an Eversolo DMP-A6 Master Edition streamer/DAC ($1399).
The Rogue RP-9 v2 preamp ($7995) fed the big monoblocks, which drove the recently introduced Quad ESL 2812 loudspeakers ($9995/pair).
A Wax Rax LP Console held vinyl records. Magerman recently lent me a pair of cloth-bound Darwin interconnects, high-value wires that work well in my system. Darwin Cable Company included the Keystone 2 XLR interconnects ($495/pair), Natural 2 XLR interconnects ($995/pair), Enlightenment Extreme XLRs ($2750/pair), Enlightenment Speaker Cables ($2995/pair), Enlightenment Red Power Cable ($995), and Enlightenment Black Power Cable ($1695).
Playing an LP from Austrian pianist Friedrich Gulda, this rig was effortless, fast, and full-bodied. Drums and piano exploded with energy and drive. Ghost Rider's "Make Us Stronger" combined ambient atmospheres with peaky, farting synthesizers—a mad workout for any system: The Rogue/Robyatt rig ate it for lunch. Bass drum pounded; intense bass synths drove a spike between my eyes; auto-tuned vocals performed like earwigs. Nat King Cole's "I Got It Bad (And That Ain't Good)" was mellow and laid-back compared to Ghost Rider, a welcome relief.
In New Jersey, Robin joined forces with Bill Magerman and Nick Fitzsimmons of Rogue Audio to create a superb-sounding system featuring the world debut of the Rogue Audio M250 Ultra monoblock amplifiers ($TBA). The system also included the VPI "The Can" direct-drive turntable ($15,995), Bird of Prey tonearm ($15,950), TZAR DST V1 stereo cartridge ($10,150), and Robyatt Audio MC-3 SUT ($1095). A Rogue Ares II Magnum phono stage ($2995) was also in the system, as was an Eversolo DMP-A6 Master Edition streamer/DAC ($1399).
The Rogue RP-9 v2 preamp ($7995) fed the big monoblocks, which drove the recently introduced Quad ESL 2812 loudspeakers ($9995/pair).
Playing an LP from Austrian pianist Friedrich Gulda, this rig was effortless, fast, and full-bodied. Drums and piano exploded with energy and drive. Ghost Rider's "Make Us Stronger" combined ambient atmospheres with peaky, farting synthesizers—a mad workout for any system: The Rogue/Robyatt rig ate it for lunch. Bass drum pounded; intense bass synths drove a spike between my eyes; auto-tuned vocals performed like earwigs. Nat King Cole's "I Got It Bad (And That Ain't Good)" was mellow and laid-back compared to Ghost Rider, a welcome relief.
