Da Vinci Audio Labs' AAS Gabriel/Da Vinci MK II Turntable with Da Vinci Grand Reference Tonearm Grandezza
Almost every time we do an Analog Buyer’s Guide we feature a picture of the AAS Gabriel/Da Vinci turntable on the “cover.” The reason should be obvious to anyone with eyes: It’s among the most beautiful hi-fi components in the world. Happily, in this case beauty is more than skin-deep, for the latest iteration of this design gem is also one of the best turntables and tonearms in the world. I’ll be reviewing Da Vinci’s Mk II ’table (a Mk II tonearm is also in the works) in our upcoming Analog Issue of TAS, so consider this a preview.
A good deal has changed between the “original” and Mk II versions of the AAS/Gabriel turntable, and, judging from the sonic results, every change has been for the better. Among other things, I’m told that the center of gravity of the massive base, into which the equally massive platter fits, has been recalculated; the constrained-layer materials of which the base is made are new and the way they are joined together is more precise; and the spindle of the magnetic bearing, fixed to the inside bottom of the base and on top of which the platter floats, is completely new. Likewise, the magnetic ring embedded in the bottom of the platter has been redesigned; the platter itself now uses specially fabricated copper cylinders inlaid into dense aluminum alloy; and the whole she-bang has been optimized for a superior flywheel effect. Additionally, Da Vinci’s massive, expensive, constrained-layer feet use new bronze vertical bearings.
Those of you who’ve read my review of the “original” Gabriel/Da Vinci (reprinted in our 2011 Guide to Vinyl Playback, p. 50, downloadable for free at http://media.avguide.com/vinyl_buyers_guide_2011.pdf) will recall that I thought the Swiss ’table and arm set new standards of transparency and low-level resolution in vinyl playback, extending dynamic range on the p-to-pppp side in the same way that the great Walker Black Diamond record player extended dynamic range on the f-to-ffff side of the dynamic spectrum. Indeed, I compared the Da Vinci to the MartinLogan CLXes—those models of delicacy and detail at low levels—and the Walker to MBL X-Tremes—those dynamic dynamos at loud levels.
Since then both turntables, the Walker and the Da Vinci, have been improved mightily and, ironically, both have extended their dynamic reach into the other’s “territory.” The Walker Black Diamond Mk II now has much of the delicacy and resolution at low levels of the Da Vinci, while the Da Vinci now has much of the clout of the Walker at higher volumes. In other words, both record players now encompass more of the dynamic range of real music, greatly reducing the differences between them (although there are still differences) and greatly lowering the “character” (which is to say, the characteristic colorations) of each.
As you will have gathered from what I just wrote, the big news about the Gabriel Mk II is dynamics. And, brother, is this news good! As has been the case with speakers and electronics I’ve recently reviewed, noise, which was already very low in this magnetic-bearing, belt-driven ’table, is now audibly lower. As a result, details, both musical and engineering-related, are clearer than ever. (This honey is a sonic vacuum cleaner when it comes to transparency to sources.) But where before the original Da Vinci couldn’t bring quite the same energy to timbres at loud levels that it did at softer ones, the Da Vinci Mk II has phenomenal transient response, bespeaking overall cleaner, clearer, faster, less colored, wider-ranging, higher-fidelity response. Provided that you have speakers capable of reproducing transients clearly (such as the Magico Q5s) and electronics that are equally transparent (such as those from Technical Brain), you will be amazed by the incredibly lifelike way the Da Vinci front end sorts out violinst Gidon Kremer’s different types of pizzicatos or hangs onto the pitches and harmonics of pianist Andrei Gavrilov’s thunderous sforzandos throughout the Schnittke Second Sonata [EMI]. If, like me, you used to think that digital owned dynamic range, once you hear plucked strings or sharply struck timps through the Da Vinci Mk II you will think differently. The thing isn’t just faster and more clearly focused than analog usually sounds; it’s also more complete. For instance, with percussion instruments the Da Vinci Mk II doesn’t just give you the thwack of the mallet on the drumhead followed by a phasey blur of tone color; it gives you the trampoline-like rebound of the calfskin, along with the resonant tone of the copper bowl. And it give you these things with a clarity that lets you better understand how the instrument itself works and how it is being played.
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Comments
Beautiful !
'Tis!
Mr Valin,
Everytime I see a Turntable with seperate motor assemblies, and seperate tonearm bases, I am amazed at the amount of "fine-tuning" that must be required to dial in the correct height, position, and level required to get the most from this unit. Is it a difficult process? Just wondering......
Hiendguy,
No, it is not a particularly difficult process--at least it isn't with the Da Vinci. The table, arm base, and motor base are custom-made, precision-machined parts. The massive constrained-layer feet are identical for all three "towers," so all three towers are "automatically" at the right height vis-a-vis each other, assuming that you've leveled the stand they are sitting on and screwed the feet in properly.
The distance between the motor and the platter is more or less predetermined by the length of the belt. I'm using the "short" belt so the motor tower is only a few millimeters from the turntable tower. With the longer belt, the distanced is greater, but the amount of belt-tension between motor and turntable is the same.
The proper location of the arm tower is determined by using a Dr. Feickert protractor custom-made for the Da Vinci (and supplied with the table). One end of the protractor has a hole that fits around the spindle of the turntable. The other end holds a downard-pointing pointed rod held at a precise distance from the spindle. The pointed end of the rod fits into a little hole at the pivot point of the tonearm. When the arm base is moved to just the right position (and the pointed rod drops into the pivot hole), the spindle-to-pivot distance is precisely correct.
What does take some time is setting up the cartridge.But that is true for any turntable and tonearm. Once again, Da Vinci makes this process as easy as possible by supplying a Feickert cartridge-alignment template that fits over the spindle and, once you've got pivot-to-soindle distance right, allows you to determine precisely where the cartridge should be located in the headshell, so that it will be squared up (precision aligned). If you're meticulous you will also want to set the rake angle precisely, but this requires special instruments.
Jon
Drooling. Does Da Vinci sell audiophile-grade bibs as well??))
Amandela77
Mr. Valin,
What would you say about LAMM ml3 , Q5 and Davinci combination? I guess the lamms will not be powerful enough for Q5s.Is that right?
redjack,
The Lamms definitely will not be powerful enough for the Q5s. This isn't a criticism of the Lamms; it's just a fact of audio life. The Q5s are an 83dB sensitivity loudspeaker and a moderately difficult load. They need a lot of power and grip, as in big solid-state or massive tube amps. As good as ML3s are with the higher sensitivity speakers they're intended for, they won't come close to filling the bill with Q5s (nor were they designed to).
The Da Vinci, however, is a wonderful source for the Q5s (or for any high-quality loudspeaker).
Jon
Hey JV:
I'm playing devil's advocate here, so hang on:
Just read the TB review. Well done.
You discuss the "realiability" issue, and it seems that it is solved, and that is that.
But it seems to me (the DA) that TB is a one man shop, sort of a amplifier parlor so to speak. You mentioned a US warranty. Who exactly will fix these if they have issues?
The gentleman who runs TB is an older man..does he have apprentices? Does he have trained operatives in the US?
As you might imagine, buying such an expensive item from a one man operation is quite risky.
Lastly, (Ok, DA part now over) I commend you for discussing the "controversy" and for the nice description of your visit to Japan.
Quiff,
First of all, TB is not a "one-man shop." Kurosawa has several highly skilled technicians working with him in Japan. I've met them, so I'm not cracking walnuts with my ass. Buying from TB is no more risky than buying from any high-end manufacturer, most of whom are in exactly the same situation.
Second, the warranty work will be handled by the importer, Silent Source Audio. Like Kurosawa, SSA employs highly skilled and experienced technical types, who, I'm told, will receive further training from Kurosawa and his staff in Japan.
Jon
Very cool. That clears it up. It was unclear from past blogs and write ups that TB was anything but one man parlor.
But obviously that is not the case. I think my questions were fair.
But I don't agree that buying from TB is as risky as buying from "any" high end manufacturer.
ARC, CJ, Manley and a host of venerable, long lived companies that still service legacy products would disagree.
But I gotta tell you, I will be making a concerted effort to hear the TB units.
Thanks again JV.
Quiff,
Your point about the longevity and long-term reliability of certain high-end American companies is well made. When I said "most [U.S. companies] are in exactly the same situation," I meant that most high-profile U.S. audio companies were founded by a single gifted individual, who may be getting older now (indeed, several high-end pioneers, such as William Z. Johnson and Jim Winey, have retired), but who, like Kurosawa, have younger, experienced, highly trained and innovative staffers who are capable of picking up their mantles—and, indeed, who presently participate in design and manufacture (as they do at TB).
Jon
Thanks for all the information, It seems there is little to worry about then.
But let's face it, this a preamp and amp combo over a HUNDRED G's large. So these are legitimate questions in my mind.
When you look at the Magico Q5 and the insanity of its build, with 425 lbs of aluminum per speaker...and the inhouse developed drivers, you can't blame one for questioning stratospherically priced gear that cost a small fraction of what the Q5 cost to build. But I understand that low volume is a huge culprit here. If TB sells one unit a month in the US that will be alot.
When i saw the raw materials for the Q5 layed out my jaw dropped!
McBain,
I was told that at least two, or three speaker manufactures that used TB gear at this years CES purchased the TB gear that they used to demo their products. I read that Morel was one of the companies(while demoing the Fat Ladys). It seems as though THe TB gear is exspensive; but I've seen SEVERAL products that are much more expensive, ie Constellation, DartZeel,Boulder,Engtrom,etc., that one piece is well over 100k, so in my mind the TB gear is a relative value in todays world of Hi-Fi considering the radical technology, build quality, and of course it's sound. I cant wait to read JV's review of TB's phono stage! Man I live in Cleveland Ohio, and I know a guy in Cincy that has the TB , and Q5's (hint-hint) I sure do wish that I could hear that system......
Hey Hiendguy:
Told by whom?
If true, I am not surprised some speaker makers purchased TB. But remember they get it a accomodation pricing, which is roughly half off retail. And many times it is a barter situation.
I am sure the TB gear sounds amazing. But it needs to be out in the field for a certain period of time to prove it can hang with the big boys.
I think JV did a great job of writing about would could technically account ofr what he called the most colorless and transparent to source electronics he had heard.
There clearly might be sometthing there.
Quiff,
Are you some kind of psychic? See www.avguide.com/blog/technical-brainlessness. In the light of this weird turn of events, I'm going to have to retract what I said above about the relative security of buying Technical Brain, at least for the time being.
What a strange world.
Jon
To return to the subject of this blog--before it got hijacked--Da Vinci has just announced a new magnetic- and ruby-bearing tonearm with interchangeable armtubes that is slated to go into production soon. See www.facebook.com/media/set/fbx/ for details about the new arm, which is called "The Master Reference Tonearm Virtu" (yeah, Da Vinci has weird product names).
Looks like this arm can use Ortofon SPU carts. Da Vinci have a new flash website BTW : http://www.da-vinci-audio.com/tonearm#/cover/