As for the stereo Rouge versus the 200w class A monoblock shootout, I will be very interested to hear how this comparison plays out in Jay's room but I already have a pretty good idea.
I have not personally heard the Rouge but I have plenty of experience with some of these so called giant killers that are especially favorites of the fanboys on ASR because they measure well as if high SNR and low THD+noise tell the whole story. This includes the Benchmark AHB2 monoblocks and the new gen class D amps from ICEPower (Bel Canto), NCore (VTV), and Merrill Audio (Element 118) that I have had in my listening room. Some may remember that Merrill lent me a pair of his Element 118s for a few weeks and I posted a review on a different thread here on A'gon some time ago.
As for 200w class A monoblocks, I don't know exactly what Jay has in his room but I have had 2 sets of amps in my listening room that meet these specifications: the Pass Labs XA200.8 (which are long gone) and the Block Audio SE Mono Blocks (which I have now). I have been able to directly compare the Block Audio monoblocks against the AHB2 monoblocks and VTV Ncore NC2000 monoblocks driving my pair of Wilson Alexia Series 2 speakers.
While I can go into much greater detail about the differences among these amps, the 2 biggest differences I hear come down to (1) space and (2) decay. Even with the Block Audio monoblocks set to "Eco" mode which is essentially class AB mode (idle power draw of about 50 watts per monoblock), the Blocks sound much more spacious whereas the AHB2s and NCore sound flatter and more confined. Switch the Block Audios from Eco to Class A mode (idle power draw climbs to about 500 watts per monoblock) and the Blocks sound even more spacious (trust me, I have zero desire to consume 500 watts per monoblock at idle for no good reason and yet this is what I find myself doing). Same thing with decay, with either the AHB2 or the NCore, the decay truncates much more rapidly whereas with the Blocks, you can hear the decay float in the air longer and more realistically. This is especially evident with organ concertos. With either the AHB2 or the NCore (and especially with the NCore NC2000 monoblocks which can output 2,500 watts into 4 ohms), you feel like the organ is expressed forcefully but you also feel as if the concerto is taking place in an anechoic chamber whereas with the Blocks, you get a greater sense of being in a cathedral. Because the presentation of the AHB2 and NCore sound flatter, the layering of detail is less well expressed which is responsible for the perception of less resolution as well as truncated decay. Yes, the AHB2 and NCore sound clean and clear and have good control but they lack the dimensionality of the Blocks (and other amps like the Blocks) that ultimately make the presentation sound less authentic and less engaging. I'm not talking about contrived euphonic space that are introduced by some tube amps (which I don't care for at all) but the real space and depth that you would hear at a live performance venue. When someone tells me their amp sounds like the performers are in the room, my immediate thought is "thanks, but I'll pass. When someone tells me their amp transports the listener to the venue, ok, you've got my attention. To my ears, these are power supply differences and where the less expensive amps seem to be lacking.
I'll conclude this lengthy post with a comment about interconnects and speaker cables. Personally, I did not care for Nordost Odin or WireWorld (thin and bright). I agree with Jay, with Wilson speakers, there's a reason why you'll often find them paired with Transparent cabling at shows as there's clearly good synergy there and in my case, I use calibrated Transparent Reference XL interconnects and speaker cables and have been quite pleased. I have tried the Opus Gen 5 speaker cables and even uncalibrated, I found they are a notable step better then what I have although I found the Tara Labs Grandmaster speaker cables to be better still. The fullness and richness is there just like the Transparent Opus but bass dynamics, control, and resolution were superior with the Tara Labs. With Wilson Audio, I don't think Transparent is the only good fit but it is certainly the safe bet.
I have not personally heard the Rouge but I have plenty of experience with some of these so called giant killers that are especially favorites of the fanboys on ASR because they measure well as if high SNR and low THD+noise tell the whole story. This includes the Benchmark AHB2 monoblocks and the new gen class D amps from ICEPower (Bel Canto), NCore (VTV), and Merrill Audio (Element 118) that I have had in my listening room. Some may remember that Merrill lent me a pair of his Element 118s for a few weeks and I posted a review on a different thread here on A'gon some time ago.
As for 200w class A monoblocks, I don't know exactly what Jay has in his room but I have had 2 sets of amps in my listening room that meet these specifications: the Pass Labs XA200.8 (which are long gone) and the Block Audio SE Mono Blocks (which I have now). I have been able to directly compare the Block Audio monoblocks against the AHB2 monoblocks and VTV Ncore NC2000 monoblocks driving my pair of Wilson Alexia Series 2 speakers.
While I can go into much greater detail about the differences among these amps, the 2 biggest differences I hear come down to (1) space and (2) decay. Even with the Block Audio monoblocks set to "Eco" mode which is essentially class AB mode (idle power draw of about 50 watts per monoblock), the Blocks sound much more spacious whereas the AHB2s and NCore sound flatter and more confined. Switch the Block Audios from Eco to Class A mode (idle power draw climbs to about 500 watts per monoblock) and the Blocks sound even more spacious (trust me, I have zero desire to consume 500 watts per monoblock at idle for no good reason and yet this is what I find myself doing). Same thing with decay, with either the AHB2 or the NCore, the decay truncates much more rapidly whereas with the Blocks, you can hear the decay float in the air longer and more realistically. This is especially evident with organ concertos. With either the AHB2 or the NCore (and especially with the NCore NC2000 monoblocks which can output 2,500 watts into 4 ohms), you feel like the organ is expressed forcefully but you also feel as if the concerto is taking place in an anechoic chamber whereas with the Blocks, you get a greater sense of being in a cathedral. Because the presentation of the AHB2 and NCore sound flatter, the layering of detail is less well expressed which is responsible for the perception of less resolution as well as truncated decay. Yes, the AHB2 and NCore sound clean and clear and have good control but they lack the dimensionality of the Blocks (and other amps like the Blocks) that ultimately make the presentation sound less authentic and less engaging. I'm not talking about contrived euphonic space that are introduced by some tube amps (which I don't care for at all) but the real space and depth that you would hear at a live performance venue. When someone tells me their amp sounds like the performers are in the room, my immediate thought is "thanks, but I'll pass. When someone tells me their amp transports the listener to the venue, ok, you've got my attention. To my ears, these are power supply differences and where the less expensive amps seem to be lacking.
I'll conclude this lengthy post with a comment about interconnects and speaker cables. Personally, I did not care for Nordost Odin or WireWorld (thin and bright). I agree with Jay, with Wilson speakers, there's a reason why you'll often find them paired with Transparent cabling at shows as there's clearly good synergy there and in my case, I use calibrated Transparent Reference XL interconnects and speaker cables and have been quite pleased. I have tried the Opus Gen 5 speaker cables and even uncalibrated, I found they are a notable step better then what I have although I found the Tara Labs Grandmaster speaker cables to be better still. The fullness and richness is there just like the Transparent Opus but bass dynamics, control, and resolution were superior with the Tara Labs. With Wilson Audio, I don't think Transparent is the only good fit but it is certainly the safe bet.