Why will no other turntable beat the EMT 927?

Thanks Thuchan for the description. Just to add more information, J.C Verdier is now making an even bigger TT called the Verdier Magnum. It is massive and is made to order only. You can read about it here:
http://www.jcverdier.com/ADSL/Platine_Magnum.html

Dear 57s4me: IMHO the first and main factor/characteristic/target on analog is: that the stylus tip ( at microscopic level. ) be always in touch with the grooves and I mean always with out any tiny deviation from there and this depends mainly in the whole cartridge design and not on the TT quality or even in the tonearm one.

Cartridge tracking habilities depends mainly on the cartridge it self, I'm not saying that we don't need at least a decent tonearm design because we need it but not at the level everyone could think.

I tested hundred of cartridges ( from LOMC to MM/MI ones. Vintage and today ones. ) in several different tonearms with different effective mass and effective length and build materials and my first hand experiences tell me that if the cartridge has high tracking habilities it will showed always it does not matters that even the resonance frequency with the tonearm be way out of the ideal range, example a heavy mass tonearm with a high compliance/low weight cartridge.

It is so " curious " ( I mean curious because is unknow for me the precise whys. ) that the same cartridge body on a MM cartridge when I tested with three different stylus original replacements where the only change was the stylus tip shape and even that shares the same whole design on suspension and the like there are differences on each one tracking habilities and sound quality level.

I agree with you that if you already losed groove information you just can't recovery and then the main target down there is to recovery all the recorded information in the grooves and this can do it " only " by the cartridge and from here all what you want: from TT mat to tonearm board passing for different steps to damp everywhere the analog rig stopping that feedback Tonywinsc and you touched.

IMHO a massive TT design as could be the 927 not warranty that non-feedback because we have to remember that a massive item don't stop per se that feedback but even could be worst and easyly perceived by that extremely sensitive " microphone " name it cartridge. The only way to be sure any TT design ( including the 927. ) is doing its job on the subject is making measuring taking in count the lowest " level " any cartridge can be disturbed. With out those measurements real tests all what we have to say on the whole subject is subjective and its validity is valid around those " ears " and the accuracy and distortion level of the audio system.

Regards and enjoy the music,
R.

Thuchan
Verdier = Micro Seiki

????

Thuchan - do the Micro Seiki designs have braking built into the platter design to deal with the behavior of a vinyl record - like the Verdier Platine ?

Cheers

Tonywinsc,
You flatter me :-)
I don't believe that I have more experience than many folk here?
What I do have through my architectural profession......is a working knowledge of structural engineering, building materials, construction techniques and building acoustics.
I am convinced that the fundamental enemy of the 'turntable system'.....is Structure-Bourne Feedback.
Many people assume that Air-Bourne Feedback is the issue as they perceive an increase in feedback when they increase the volume from the speakers.....whereas the increased volume is merely highlighting the Structure-Bourne feedback.
Every suspended timber-framed floor is wracked with Structure-Bourne feedback due to structural deflections....and surprisingly......every suspended reinforced concrete slab is also wracked with similar Structure-Bourne Feedback due to the same structural deflections.
Only a steel reinforced concrete slab on the ground can be relatively free of this form of feedback.
The stresses caused by these structural deflections result in 'movement' and continuous low-frequency energy within the floor system.
All the expensive stands, isolation platforms and turntable suspension systems are designed primarily to isolate the plinth and platter from this Structure-Bourne Feedback but very few are 100% effective because of the severe low-frequency of the feedback and because of the movements induced.
Once you have heard a turntable system.....any turntable system......totally free of this Structure-Bourne Feedback......you will realise the singular importance of this principle.
You will also notice when this is achieved.....that tonearms and cartridges are generally liberated to perform their tasks as designed?
So I agree with you.......the type of drive system implemented and the absolute accuracy of speed maintenance is not as significant IMHO?

Halcro, I think you are entirely right about structural borne vibrations but turntables have many equally difficult problems all of which rob the music of its magic.

About two years ago I discovered the new StillPoints isolation feet, component stands, and racks. They are intended to absorb the internal vibrations as well as the structural vibrations. They have replace the Halcyonic active isolation platforms that I had used, especially under my turntables. But there are also: speed accuracy, resistance to the impact of the music on the speed, slap echo of ribbons used to drive tables, pulse of ac motors, vibrations through the bearing, etc. Gradually, I have come to the conclusion that the idler wheel turntable, especially the Lenco, have the greatest realism, so I am moving that way.

I think many are selling vinyl short, but no totally optimizing their turntable, arm, cartridges. My new table will also allow me to have two tonearms with one having a mono cartridge. Long ago I realized that while I liked the soundstage of most stereo records, monos often are the most real.