Why will no other turntable beat the EMT 927?

Dear Rauliruegas, obviously you have your way of looking at things audio which is quite different than mine. My equipment bias is purely subjective based on years of hands on experience and that's what I can offer. If you paid me I wouldn't sit in a roomful of audiophiles listening to gladiator, vangelis or any other audiophile paraphernalia du jour comparing analog vs digital but you enjoy that and find it meaningful and conclusive.

The net is full of background information on EMT and testimony from very knowledgeable professionals and hobbyist alike, if that's not enough and you don't find any of them credible this conversation is a waste of our times.

All Huber did was change the chassis of his equipment and jack up the
prices he never changed what goes into the box, its still the same circuit
designs.

I know many engineers who disagree with you including Mosin here. Solid engineering is the foundation the rest of creation is all art. Check his website out, if his attractive designs don't impress you as art we're at another impasse.

Since all judgement, subjective and objective, is limited by the depth ones knowledge its never unbiased!

Dkarmeli,

Thanks for the kind words, but I think you have me confused with someone else because I don't have a website, yet. I am proud of my work, though. I suppose I should stop stalling on that the website. For me, the presentation of my work online is more daunting than actually building it.

"Solid engineering is the foundation the rest of creation is all art."

You are right about this. Many of us are wired that way, probably almost everyone who tries to reach the limits of our craft. At some point, the designer's personality enters the mix, even if it is unintentional. Maybe that is what constitutes the signature that I was talking about.

Mosin is too modest to say so, but I will wager that the Saskia outperforms the EMT927, in front of an impartial audience (either blinded or free of anyone with a preconceived notion of the supremacy of the 927). Now THAT would be an interesting side by side comparison.

Dover, it must be nice to be so certain in your audio beliefs.

Dear Mosin, isn't Oswald Mills yours?
david

Dkarmeli
I use the Micro as a reference simply because more people are familiar with these. I personally use the original Final Audio Parthenon VTT1/VSM2 with VDS17 Stabiliser & VM7 Mat which as you mention has a focus on unwanted energy dissipation from the record groove in its design goals along with a high inertia solution for speed stability. What differentiates it from the top Micro's and is clearly audible is the more sophisticated speed control which utilises sine & cosine wave generators for stability with the huge AC motor, variable torque to minimise motor noise, an inverted bearing design and the energy control paths are quite sophisticated even by todays standards, culminating in the stabiliser/mat/platter/bearing assembly and arm pod both terminated into a slab of SPZ ( superplastic zinc alloy ) that when excited grain slides at a molecular level. This results in an extremely rigid closed loop system between arm and platter but ensures energy is not transmitted from one to the other.

The Parthenon was an assault but didn't get all the way there, too many gimmicks. Its not only mass here, ...

Which version are you referring to here. The later version - see pic here http://www.damoka.net/product_pages/analog/ as used by Lamm in one of their shows did not use the SPZ base and has a smaller and less substantial bearing pillar & subplatter assembly and is not as good as the original.