|
Downright child’s play was leveling the 23kg table. Via a hex key and a bubble level built into the plinth, squaring the deck out was ultra quick. Two of its three spike footers were adjustable from above through small openings. This made it quite easy to experiment with different shelves or platforms and suss out how the AMG Viella might react to what it’s put on.
An owner really cannot bypass such personal trials to squeeze out the final few drops of performance. Mounted to a 3cm thick shale platform made the sound cooler and more technical. Parked atop the top rock maple shelf of my rack, the performance grew a bit portly but also more colourful. My trials ended with the same Acapella base which had already worked best with my personal Horstmann & Petter Ulysses table. AMG champion a platform from US maker HRS. This luxury option customized for the Viella isn’t that affordable but expected to be shortly added to the German’s catalogue.
|
|
So, how did the Viella sound? Er – it didn’t. This strict refusal to ‘sound’ had my profound respect. Needless to say, I went through all my usual ‘test records’. What’s more rare, I also ended up spinning a lot of vinyl which normally doesn’t make it out of its holding crates. I had many sonic impressions of course but those were more due the actual licorice slivers. Naturally that’s the goal of all turntables. Don’t add anything, omit nothing. Getting as close to this ideal as AMG have managed with the Viella simply seemed beyond most in this class. And quite logically team AMG seemed to have imbued their arm with the same chops. I never heard it diverge from the deck’s non sound but rather, emphasize it. Non sound? End of my aural commentary already?
|
|
|
|
|