To my observation, this is one of the design elements that distinguishes the vintage Japanese tonearms from "modern" ones. The vintage tonearms seem to disregard the length of the stub that mounts the counter-wt, and some of them are quite long. Modern tonearms, in general, seem to favor very short stubs and large counter-wts designed to hug the pivot point. Furthermore, the modern designs place the center of mass of the CW in the plane of the LP, whereas the vintage ones typically have the CW higher, in the plane of the arm wand. One exception to this rule is the Durand Telos, which in photos seems to have a very long rear stub in the plane of its arm wand. And its owners are ecstatic over the sound, which just goes to show ya that engineering principles are not the be-all and end-all. Plus, we all know that some of those vintage designs also sound great.
Why will no other turntable beat the EMT 927?
Having owned many good turntables in my audiophile life I am still wondering why not one of the modern designs of the last 20 years is able to beat the sound qualities of an EMT 927.
New designs may offer some advantages like multiple armboards, more than one motor or additional vibration measurements etc. but regarding the sound quality the EMT is unbeatable!
What is the real reason behind this as the machine is nearly 60 years old, including the pre-versions like the R-80?
New designs may offer some advantages like multiple armboards, more than one motor or additional vibration measurements etc. but regarding the sound quality the EMT is unbeatable!
What is the real reason behind this as the machine is nearly 60 years old, including the pre-versions like the R-80?
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- 570 posts total
- 570 posts total