Rogue Sphinx V3 Tube integrated amplifier * Manual * Remote * Box

Rogue Sphinx V3 Tube integrated amplifier * Manual * Remote * Box

Rogue

Regular price $950.00 USD
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Rogue Sphinx V3 integrated amplifier

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I am proud of the fact that my first review for Stereophile was of a modestly priced integrated amplifier called the Rogue Audio Sphinx. Specified at 100Wpc into 8 ohms, 200Wpc into 4 ohms (footnote 1), it played the KEF LS50s like it was made for them. It was simple and handsome and cost only $1295, phono stage included.

 

I chose the Sphinx because it was a hybrid tube–class-D design that, to my ears, blended French-wine tube flavor with the grip and authority of class-D solid-stateness. The Sphinx was proletariat, not patrician, but it still showed me the merry music of Paris during La Belle Époque. With the LS50s, a VPI Traveler turntable, Ortofon 2M Red phono cartridge, Oppo CD player, and some AudioQuest wire, the entire analog and digital system cost less than $5k but delivered pleasure like a good five-figure hi-fi.

 

The latest version of the Rogue Sphinx is called the "V3," and it looks exactly the same as the original (hallelujah!), but it costs $300 more ($1595) and includes a cool-cat clear-plastic "skeleton" remote with only three buttons: up and down volume, plus mute.

 

The Sphinx V3 is an old-school, 25lb, made-in-America integrated amplifier with three line-level inputs, an RIAA phono stage (with adjustable loading and selectable 44/60dB of gain), a balance control (!!), and a 12AU7-based mu-follower preamplifier stage driving a 100Wpc (into 8 ohm), class-D, solid-state power amplifier with what sounds to me like a substantial linear power supply.

 

I asked Rogue Audio's chief-of-everything Mark O'Brien to explain all the changes since I reviewed the original Sphinx in 2014. "The V2 saw an updated phono section, new amplifiers in the headphone circuit, circuit layout improvements that lowered the noise floor, and a DC offset filter . . . added to the AC power supply," he replied by email.

 

"The V3 got a completely new MM/MC phono section that is a somewhat scaled down version of what goes into our Triton II standalone phono. FYI, I think I must have tried twenty versions of this circuit before I got it to work the way I wanted it to. The V3 also got a completely new headphone circuit that is based on discrete MOSFET devices as opposed to the chip amps in the earlier version. We also upgraded some of the components and improved the power supply sections feeding the output modules."

 

Listening
La morte della ragione (24/176.4 FLAC Alpha/Qobuz) is my kind of music. I love the sensuality and mind-body connectedness of these early instrumental compositions by the likes of Josquin Des Prés, John Dunstable, and my favorite composer of all time, Anonymous. Using the HoloAudio May DAC, I streamed this recording through both the old and new Sphinx. The original Sphinx played these songs enjoyably but with an almost imperceptible slipping-clutch effect: Some of the bite of the flute's top octave disappeared, and the midrange blurred just slightly. In contrast, the improved Sphinx V3 is equipped with a no-slip competition clutch: It delivered a good amount of leading-edge bite and trailing-edge flow. Bass felt quicker and more articulate. The V3 displayed a fun, taut energy the original did not have.

 

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The Ortofon 2M Red phono cartridge that I used in my original Sphinx report did not wear well with me—it played a little hard and generalized—but folks, when I installed the Ortofon 2M Black moving-magnet phono cartridge and played it through the V3's phono input, it was one of those "Wow dang! No way . . . this is not possible" moments.

 

That wow-dang moment was almost an accident. I woke up one plague-silenced morning in May and said, "Okay, today I listen to the Sphinx phono stage." I wanted to use a popular moving-magnet cartridge that most people know and that many Sphinx V3 owners might aspire to for their own systems. I chose the venerable, $755 Ortofon 2M Black. While fastening the Black to the Jelco TK-850M tonearm on the J.Sikora Initial turntable (see Gramophone Dreams, June 2020), I wondered, will this combo show a budding phonophile the true virtues of analog? I hope so. I knew of course that the 2M Black's Shibata stylus would excavate a tsunami of detail. I just needed the phono stage to deliver that tsunami without loss. The speakers were Harbeth M30.2s.

 

I wanted to try a record everybody knew, so I put on Mobile Fidelity Sound Lab's reissue of Miles Davis's In a Silent Way (MFSL1 – 377), which I think sounds more sparkly, spirited, and spatially coherent than the original. Before I could even sit down, the newly installed 2M Black was making Miles sound like he did on the horns in the Salt Cellar System: Think dense, vibrating air with a radiant energy—highly tactile and substantially present in my room. Images of performers had dense bodies. I never expected, nor had I experienced, this kind of horn-like vividosity from the normally staid, monitor-like Harbeth M30.2s—or from a $1595 integrated amplifier (including phono stage) and a $755 MM cartridge.

 

Then I asked myself, what moving-coil cartridges would the average Rogue Sphinx customer probably choose? The first one to jump into my head was the Hana EL. This overachieving, $475, low-output (0.5mV/1kHz) moving coil features alnico magnets and an aluminum cantilever with an elliptical stylus profile. It tracks at 2gm and has a 30 ohm impedance and a suggested load of " >400 ohms."

 

Changing the cartridge load and phono-stage gain settings is easy, but you must remove the amp cover to do it. Then, simply move the easy-to-spot slide switches from 44dB gain (for MM) to 60dB (for MC)—and then choose the load. The Hana EL specifies a load of greater than 400 ohms, but the two closest choices were 300 ohms and 1k ohm. I experimented with both and preferred the lower, heavier load: 300 ohms.


On In a Silent Way , the Hana EL did not generate as much radiant, glowing energy as the Ortofon 2M Black; instead, it surrounded Miles's trumpet and Herbie Hancock's keyboards with a more restrained but burnished glow that let my mind wander through the myriad polyrhythms and chord changes. The Hana EL was less detailed and transparent than the 2M Black, but it countered with an easygoing, tube-like, musical charm.

 

The Sphinx V3's MM/MC phono input did proclaim the virtues of analog.

 

Back to the Maggies
I connected the $995 Mytek HiFi Liberty DAC into the $1595 Rogue Sphinx V3 using Cardas Iridium interconnect ($250/1m pair) and used Cardas Clear Cygnus loudspeaker cable (about $1319/2m pair) to drive the $1400/pair Magnepan .7 quasi-ribbon panel speakers.

 

This complete under-$6000 system made music flow and pulse via a transparent, super-detailed soundstage that filled half my room. It made recordings sound corporeal and overtly sensuous.

 

After J.S. Bach, the first classical composer who really captured my attention was Claude Debussy. I was a stoner-artist, and I loved him for his sensuous, painterly chromaticism and the way light flickered through his compositions. Today, he is marketed as drowsy mood music. No matter. I still need a good stereo to intoxicate me with his washes of rich tones, especially on piano. I experienced no New-Age drowsiness when Russian pianist Nikolai Lugansky made "L'Isle joyeuse" (Debussy: Suite bergamasque 24/96 FLAC harmonia mundi/ Qobuz) sound like edgy avant-garde with a solid, serious low register and a dancing, light-filled upper register.

 

The Sphinx V3 made the modest .7 Maggies sound like the best speaker ever. What more could I want?

 

Headphones
Except for the Schiit Ragnarok, I can't remember getting excited about any headphone amp included with any integrated amp. But Mark O'Brien said the V3 has "a completely new headphone circuit based on discrete MOSFET devices." He added, "I have used it with a variety of headphones, and I am pretty sure it will drive most of the difficult ones out there." So, as always, I started by using HiFMan's venerable but hard-to-drive HE6se ($1299) planar-magnetic, open-back headphones. The HE6se are only 83.5dB/mW sensitive with a 50 ohm impedance. They need gain and power from an amplifier. The Sphinx drove them to only moderate volumes. The sound was sweet and detailed but not tight and lively.

 

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Next, I wanted to see what the Sphinx could do with the exquisite-quality, easier-to-drive ZMF Vérité dynamic-driver closed-backs ($2499), which present a 300 ohm load at 97dB/mW sensitivity. Loadwise, the Vérité is the closest I could get to the venerable Sennheiser HD 650, which many potential Sphinx owners might already own.

 

Okay, I know this is hokey audiophile-nerd stuff, but there are three minutes of wind sounds on "Chaos," Björk's introductory track to Vespertine – A Pop Album as an Opera (Live) (24/48 FLAC, Oehms Classics/Qobuz). I've listened to that wind dozens of times, but it never sounded as much like real wind as it did here. This wind track was suddenly very intriguing. The entire live opera held my attention and showed me subtle things I'd never noticed before. That experience testifies to the balance, acuity, and engagement factor of the Sphinx headphone amp.

 

My only criticisms: On a wide range of programs, with a variety of easy-to-drive headphones, the Sphinx headphone amp displayed a slight but consistent gray veiling, and—horror of horrors—the remote doesn't work when the V3 is in the required Standby mode during headphone use.

 

The Sphinx V3's headphone amp is not as powerful, dynamic, or transparent as the Schiit Ragnarok's, but it's closer to that than any others I've auditioned.

 

In sum
The Rogue Sphinx V3 is an unpretentious working-person's amplifier. It delivers music with an eager expressive energy, in concert with a forgiving musical nature.

 

I compared the V3 with the original Sphinx using the Harbeth M30.2 and P3ESR, as well as the Magnepan .7 and KEF LS50. With each of those speakers, the improvements were not subtle. The V3 was always more exciting and engaging than its now-classic forebear. I promise, you have my word: The Rogue Sphinx V3 will someday be remembered, like the original NAD 3020 integrated amp, as one of the greatest high-value audio products of all time.

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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.

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All items are meticulously serviced and restored to meet factory specifications

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