Audiophilepure

The Vitus Audio SIA-25 Integrated

If you can, try some tracks that you’ve played hundreds of times. The more you listen, the more you’ll hear. It may be old, but I always go back to the title track from Michael Hedges Aerial Boundaries (if you have this on vinyl, even better) or Al DiMeola’s Friday Night in San Francisco. There are plenty of great others, yet these are burned into my memory, not only because I’ve used them to evaluate so many components, I’ve heard them both live more than once.

Another area the SIA-25 really excels in in its ability to render size and scale. Some amplifiers just sound big, others just sound small. Not all amplifiers have the ability to expand and contract with the source fed. I consider this another aspect of resolution. If you love chamber music, listen to selections that feature violin and viola together. On lesser quality playback gear, a string quartet just sounds like four of the same stringed instruments. I really enjoy Luigi Gatti’s Six Sonatas for Violin and Viola, to illustrate this. The viola, being about 20% larger than a violin and plays a bit lower, and more mellow than a violin, so this is a great test of resolution and behavior on the top end of the frequency scale.

Even if your taste in music falls to the completely electronic, I suspect you’ll get excited (or really freak out) about when the SIA-25 is in your system. First, the level of bass extension and control is incredible, and feels like a much larger amplifier. Jean-Michel Jarre’s Zoolook is usually the go to here, but his latest release, Amazonia, serves up a massive soundscape, full of guttural sounds, deep bass tracks, and plenty of signature Jarre tinkly bits all over the room. While none of this music has a “real” component to it, there is again a degree of liveliness that mega components bring to this kind of music. Again, the SIA-25 aces the test.

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