Why will no other turntable beat the EMT 927?

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.

Finding neutrality is like finding the mythical Unicorn. I mean it is more an abstract concept than something real. For example, just listening to live music and moving around the room, concert hall or even outside venue the sound changes. Suppose you could get your favorite singer to stand in your listening room and belt out a tune. It isn't going to be the same thing as the record because the artist's studio sound is completely different from your room. Afterall, our hifi's are supposed to recreate the ambience of the recording. So now suppose you get to stand in the studio while your favorite singer performs. The recording engineer is in an isolated chamber hearing the performance through some studio monitors. (That's how I perceive it; but I have never been to a studio). How much comparison does the recording engineer compare the live voice to his mix down? What if they adjust timber of the singers voice a bit. So at best, neutrality is a comparison between systems or components and becomes a subjective judgment like everything else.