EMT 927 vs. Micro Seiki 5000 or 8000 - different?

your intuition is pretty good Bourse. We are not so far away in Europe. Currently I am exploring remote islands in the South China Sea. When I am back and did survive I will check my e-mail lists.

So we are both building up horn systems, I decided to go for TAD Berryllium drivers. A very well known German technology advisor supports me in this challenge to match better with my nearly completly tube based system.

I guess 1000 km west means at the sea side? not a bad location at all.

The EMT 927 is very similar to other professional 16" broadcast turntables- large platter, large powerful motor, large bearing, idler drive.

The hype around the 927 is the typical hype around EMT. I own an EMT 950 BBC Widebody, by the way, along with most of the other decks discussed in this thread.

The people jumping onto the 927 bandwagon have no experience with the big Fairchilds, Gates, Rek O Kut's, Commonwealth and other more obscure 16" broadcast tables, and so their enthusiasm may be excused, but there is nothing very mysterious about the performance of these decks compared to belt drive.

The downside of the EMT 927 is pretty steep, though. The price is ridiculous, but worse, you have to use the poor EMT 997 arm, or the earlier Ortofon. Because the arm must be mounted to the chassis of the 997, your flexibility is gone. And, as another poster has said, you just spent the equivalent of a nice new family car on something that really just earns you bragging rights on forums like this one.

The EMT phonostage is not a contender, either.

Jonathan

Jonathan, I thought so too before I went into this experience. I also could not imagine that the old Studio idlers and these old Ortofon tonarms may be able to produce more than a very poor vintage sound.

you need listening to a R 80 or 927 which has been revised by a real EMT expert. The inner tonearm litz needs to be cleaned carefully, the contacts should be soldered newly, the pins need to be cleaned and the wire is to be soldered directly - without connectors in the tonearm socket - to the external cinch terminal or to the phono stage. This is only about the tonearm.

I would not compare a fully revised 927 with a 950. You are right the price is pretty high but we should keep in mind that there is no differerence to the cost for the Studios in the 60ies and 70ies. The value is still the same. Of which modern turntable you can say this?

Jonathan

The "poor 997" happens to be a very good arm. Of course things are always subjective but to call it "poor" can only mean you've heard a very worn out or improperly set up example. And those early Ortofon's, if reconditioned properly, are quite good as well. Most examples I've seen are well past their prime.

My point regarding the stock 997 arm is very straightforward.

To spend $25,000- $60,000 on a vintage turntable where you are stuck with the stock tonearm, which is only so so, and also to be stuck with having to use EMT cartridges, because of the special diamond pin pattern, does not seem so smart.

As I mentioned, much if not all of the EMT 997 performance can be had from other 16" transcription decks, but they don't carry the EMT name, and thus are overlooked. And most of those decks allow you to use any arm you want.

I have a good friend in Tokyo who literally grew up in the vintage hifi scene there, and used to help a family friend who had an important audio company do demos at hifi shows. He recounted doing a show in which a Garrard 301 and an EMT 997 were set up side by side, with identical Ortofon long arms and SPU's. For days he would go back and forth DJ'ing the show with these two decks, so you can't really get a better comparison than that. He found the Garrard to be very much in the same league as the 997, which had a bit of an advantage, but he never could figure out why Japanese would pay so much more for one than a Garrard. He chalked it up to the rarity/cool factor.

Jonathan