keep a high-precision, low-torque tonearm in place, Roeschlau
adapted the idea to fit his V12. Using two 0.5mm-thick spring-
steel wires he created a helicopter-like vertical tonearm bearing.
It may sound a bit wild (and it is certainly unconventional),
but judging by the sonic results his spring-steel bearing works
exceptionally well, not only constraining vertical movement
but also allowing fine azimuth adjustment while simultaneously
eliminating bearing-chatter (as there are no bearings to “chatter”).
The V12’s horizontal bearing comprises hardened tool-steel
axles “precision-ground to a backlash-free fit with needle roller-
bearings.” Once again, judging by the incredibly high resolution
and extraordinarily precise, lifelike imaging that this ’arm is
capable of (which, in my experience, bespeaks superb tracking
and tracing), it too works like a charm.
Not only is Roeschlau’s ’arm a veritable sonic vacuum cleaner
when it comes to the recovery of low-level detail, it is also highly
and easily adjustable. An acoustically-decoupled precision locking
system built into the bearing housing allows you to change VTA
during play, while acoustically-decoupled magnets also built into
the bearing housing provide adjustable (and defeatable) magnetic
anti-skating.
Even though I’d heard the AMG V12 sound great at several
different trade shows, in rooms that were either nominated for
or won my Best of Show awards, I didn’t honestly expect it to
compete with my far-more-expensive references. And, to be fair,
in certain hi-fi respects it doesn’t, though the degree to which it
falls short of the these much pricier ’tables and ’arms depends a
bit on the cartridge being used. I’ve mentioned the V12’s tauter,
somewhat leaner and less bloomy deep bass, its slightly (and I
mean oh-so-slightly) less expansive soundstaging, and its cooler,
“top-down” tonal balance, though the Ortofon A90, as noted,
is certainly playing a highly significant role in all three of these
areas, as well as in the V12’s strengths. (With the fuller, richer,
less “analytical” Goldfinger Statement, for example, the AMG
is considerably fuller and richer in bass and balance, bespeaking
the V12’s exceptional transparency to sources, though it is still
not, let it be noted, quite as full and rich in bass or balance
as the Walker, Da Vinci, or Acoustic Signature with the same
cartridges.) Nonetheless, the little that the Viella 12 may be
lacking here and there is overwhelmingly made up for by its core
strength. Let’s face it: When it comes to high fidelity, realism (on
those records that are capable of sounding realistic) is the whole
she-bang. Everything else doesn’t matter—or doesn’t matter
nearly as much. And, as noted, this contraption sounds real.
Lest you think the V12 is a one-trick pony, its fool-you-
realistic presentation isn’t restricted to female vocalists. Yeah, it’s
thrillingly “alive” sounding on Gisela May’s contralto on Eterna/
DG’s marvelous recording of Brecht and Weill’s mordantly
amusing Seven Deadly Sins. But it is just as alive with the four male
singers who make up May’s “family” (the bass sings her mother!)
or with the clarinet, dobro, and cymbals on the aforementioned
Gardot disc, or with Ran Blake’s silvery piano and David Fabris’
dark, slashing guitars on NoBusiness’ piquant Third Stream LP
Vilnius Noir, or with the beautiful LSO strings, winds, and brasses
on RCA’s famous recording Venice (though no stereo system
I’ve heard can reproduce the scale and scope of a symphony
orchestra). From the bass right through the ceiling, this record
player/cartridge is capable of extraordinary low-level resolution,
natural timbre, lightning transients, and (as noted) the kind of
3-D imaging that makes instrument and voices—wherever they
are located on the stage—“pop” into lifelike presence, replete
with the realism-enhancing performance-and-engineering details
that tell you, for example, exactly how a singer in shepherding
his (or her) breath, what parts of his chest, throat, mouth, and
nose he is using to invest the words of a lyric with expressive
color and narrative power, and where he is standing vis-à-vis
the microphones and other singers/instruments on stage as he
performs.
Type:
Unsuspended, belt-
driven turntable with integral
tonearm, outboard motor
controller, and screw-down
clamp
dimensions:
20 5/8" x 8" x 12
7/16"
Weight:
56.4 lbs.
Price:
$16,500 including 12"
tonearm and wood skirt;
$17,000 for black lacquered
skirt $15,000 with no skirt;
AMG 1.5m DIN to RCA
tonearm cables: Basic for
$300, Special for $600, or
Deluxe for $1500
MUSical SUrroUNdiNgS
(North aMericaN
diStribUtor)
5662 Shattuck Ave.
Oakland, CA 94609
(510) 547-5006
musicalsurroundings.com
JV’S referenCe SYSTeM
loudspeakers:
Raidho C1.1,
MartinLogan CLX, Magnepan
1.7, Magnepan 3.7, Magnepan
20.7, Estelon X Diamond
linestage
preamps:
Constellation Virgo, Audio
Research Reference 5 SE
Phonostage
preamps:
Audio
Research Corporation
Reference Phono 2 SE
Power
amplifiers:
Constellation
Centaur, Audio Research
Reference 250, Lamm ML2.2
Analog
source:
Walker Audio
Proscenium Black Diamond
Mk III record player, AMG
Viella 12, Da Vinci AAS Gabriel
Mk II turntable with DaVinci
Master’s Reference Virtu
tonearm, Acoustic Signature
Ascona with Kuzma 4P
tonearm
Phono
cartridges:
Clearaudio
Goldfinger Statement, Ortofon
MC A90, Benz LP S-MR,
digital
source:
Mac Mini/
Wavelength Audio Crimson
USB DAC, Berkeley Alpha
DAC 2
Cable
and
interconnect:
Synergistic Research Galileo,
Crystal Cable Absolute Dream
Power
Cords:
Synergistic
Research, Shunyata King
Cobra, Crystal Cable Absolute
Dream
Power Conditioner:
Syngergistics Research Tesla
III
Accessories:
Synergistic ART
system, Shakti Hallographs
(6), A/V Room Services
Metu panels and traps, ASC
Tube Traps, Critical Mass
MAXXUM equipment and amp
stands, Symposium Isis and
Ultra equipment platforms,
Symposium Rollerblocks and
Fat Padz, Walker Prologue
Reference equipment and
amp stands, Walker Valid
Points and Resonance Control
discs, Clearaudio Double
Matrix SE record cleaner, HiFi-
Tuning silver/gold fuses
SPecS & PriciNg
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AMG ViellA 12 TurnTAble And ToneArM
