To all those that have pre-ordered the sig 70's --- I HAVE BEEN TO THE MOUNTAIN!!
Vinnie was kind enough to arrange for a demonstration of the new monoblocks (prototype only at this point) at my house (I live within a half hour of Vinnie), where my dyed-in-the-wool tube/vinyl buddy Don Popillo and I ran the amps through their paces. Vinnie also brought along a sig 30 for comparison.
First, all that I've been reading about the sig 30's is true!
Second, the sig 70's were/are, for my system/setup, a solid step up from the sig 30's.
(My current system: squeezebox2 with full bolder analog mods (incl. silver bybees and ultimate power supply) and thorens td125 mkII/sme 3009 (improved)/shure v15 IV mr as sources, using an audio refinement complete (alpha) integrated, aes/cary ph-1 phono stage, all playing through tyler acoustics linbrook signature monitors and working through a bpt cpc power unit, a mixture of audience, cardas golden reference and ps audio pc's, and ic's from reality cables and grover huffman)
(The room is small: 9.5'w x 15' l x 8.5' h, with windows on one long side and one short side, and french doors on the other long side)
I've always liked my Audio Refinement Complete integrated with my Linbrooks, ever since I heard the two together at Ty Lashbrook's in Owensboro, Kentucky, and it has received lots of excellent reviews. (
http://www.soundstage.com/revequip/srajan01.htm)
(
http://www.audioplusservices.com/pdf/ar-sf.pdf)
As suggested by Vinnie, we ran the sb2 and vinyl directly into the amps - no preamp. Simply put, the sig 70's blow it away. Piano and female vocals are especially well-rendered, much in the style of good tube amplification, but with every bit of detail i'm accustomed to with my solid state gear, and plenty of bass slam (i actually have a tbi magellan sub hooked up in the room - we disconnected it, as we did not feel it was really warranted given what we were hearing - anyone looking for one?). Smooth, so smooth, with plenty of body/presence and just enough warmth. Jubilant Sykes vocals on "City Called Heaven" ("Jubilant") gave me the all-over chill I experienced when I first saw him in a small tent (introduced by Terence Blanchard) at the New Orleans Jazz Fest several years ago. The cello tone of both Jacqueline du Pre's (vinyl) and Yo Yo Ma's (cd) renderings of Elgar's Concerto for Cello and Orchestra were handled delicately, while the soaring entrance of the orchestra (a place where many valiant amps have been left gasping for air) was as full and bracing as when played through my ATC SIA2-150 solid state with 150 watts of class a power. Textures were faithfully, viscerally rendered with effortless clarity on Brian Bromberg's "The Saga of Harrison Crabfeathers" ("Wood"). Other special moments from our extended (thank you, Vinnie!) listening session included the "Pie Jesu" from Philip Herreweghe's Requiem by Faure, Jacqui Naylor's cover of "Money", Pat Metheny/Charlie Haden's "The Moon is a Harsh Mistress" ("Under a Missouri Sky"), both through the sb2, and Julie London's "Cry Me A River" on the original "Julie is Her Name" cheesecake LP.
I was really blown away by the deeply musical quality of these amps. Through them, I rediscovered my speakers, and my vague dissatisfactions with my system disappeared. My friend, Don, Mr. "if it ain't tubes and vinyl, it ain't music", was equally impressed, and has finally stopped exhorting me to jump on the tube train - - he has become an unabashed fan of Vinnie and his art.
Needless to say, I've ordered my Sig 70's and can hardly bear to listen to my system as I await delivery!
