Why will no other turntable beat the EMT 927?

Dkarmeli,
When Jonathan informed us on Agon some time ago about the arriving Airforce One I was pretty curious comparing it with my MS SX 8000 II. I saw the New Micro Seiki design at Highend 2012 in Munich the first time and got dissapointed about some functions and the plastique appearance on some parts. In the meantime they have improved it. I had the Graham Phantom which I had mounted also on my Micro. It is a very good arm, nevertheless I prefer 12" or 14" designs with SME headshells.
Some of my friends asked me if I would go for an Airforce? I told them "why should I invest 100 bucks when I can get the same quality and sound for 30 bucks"? - the price you may get a very good MK II in 8/10 condition with matching air base and parts etc.

Dkarmeli, I'm curious about your analogy regarding the face to face conversation and how it is better in every way than the same conversation over Skype, telephone etc. I agree with this. But you completely lose me when you then write that these rare and favorite turntables of yours, like the EMT 927 and American Sound, offer this kind of "Natural/Real experience". If those turntables in presumably equal quality systems, offer a kind of life-like "Natural/Real experience", then how would you describe an actual live orchestral performance? Surely a live concert is more analogous to the face to face conversation than is any audio system.

I agree with Raul on the issue of neutrality. I prefer a component, especially one like a turntable, to be as neutral (tonally) as possible. I don't want it to impart a signature to the sound.

You write that each of your top turntables sounds "distinctly different" and that the AirForce One can be made to sound different depending on the three different platter materials. Presuming this is the case, which one of your many excellent turntables sounds most "Natural/Real" in your view? And if there is one, than it must follow that the others sound less "Natural/Real".

Dkarmeli,
I agree on all counts.

By the way, The motor for the EMT 927 was made in-house. A look at it will quickly reveal why it has never been copied. It would be pretty much cost prohibitive these days, not to mention that no turntable manufacturer that I am aware of has the in-house setup to actually do it. However, the Continuum has a motor that was especially built for it by a company in California. I suppose that company could do it, but would a sufficient market exist?

Here is link to a 41 page forum thread about the 927 where one can see the motor, as well as the other parts...

http://www.lencoheaven.net/forum/index.php?topic=7793.0

Raul,
I have never met anyone who can define neutral, so Dkarmeli's "natural" term is one I find far more appropriate. "Neutral" is probably the very last term that should be used anywhere around the audio hobby! If we knew what it is, everything would sound the same, and that would be so boring. ;)

A correction.

I misspoke when I said the 927's motor was made in-house. Rather, it was EMT designed, and built from scratch by a vendor. Still, it is an incredible piece of work.

Mosin, How about defining a "neutral" component as one which has "no discernable character of its own". In other words, one that does not add or subtract a sonic signature to the music.

This may be impossible to achieve, but I do think it is a reasonable goal. One way I would describe a turntable that is too fast or two slow is that it is not "neutral". Such a turntable would impart a color on everything it plays. Some would probably say the same about particular drive types and certain build materials.

Now, if one likes having three platter options in order to alter the sound to his/her personal liking, that is fine. But for those who want to hear what is in the grooves without any alteration, it does not seem to be the best approach.

I think neutrality is a worthwhile goal for a designer. Not the only goal perhaps, but one which will meet a demand in the market. And because it is so difficult to achieve, I don't think there is any chance of everything sounding the same.