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Elektro-Mess-Technik (EMT) is a manufacturer of phonograph turntables and professional audio equipment, including a well-regarded line of artificial reverberation devices beginning with the EMT 140 plate reverb. [1] The company was founded by Wilhelm Franz.
Wilhelm Franz, born in Bremen in 1913, founded Elektromesstechnik Wilhelm Franz K.G. in Berlin in 1938. Two years later Wilhelm’s brother, Walter, joined the company. The Allied bombing air raids over Berlin intensified in 1943 and Franz moved to Schuttertal, then, after 1945, to Lahr, in the Schwarzwald region of south-western Germany. The logo of an 'arrowhead' was chosen as a symbol of the passage of an electric signal in an electronic circuitry.
After the war Franz, in co-operation with the ‘Rundfunktechnisches Institut’, (‘Broadcasting Technique Institute’) directed by Walter Kuhl, designed the ‘927 Large Studio turntable'. Introduced in 1951, the 927 is 67 cm wide, 52 cm deep and 21.5 cm high. Its enormous main platter (44 cm) was necessary to play 16” acetate records and it was driven by a very large electric motor through a sturdy idler-wheel system. Additionally it could play the 331⁄3 rpm 12” Long-Playing records and 7” 45 rpm (RCA-standard) discs. The Danish firm Ortofon provided the tonearm for the 927 (‘RF-297’) and the first magnetic pickup officially installed by EMT on their turntables. A stroboscope engraved around the acrylic outer platter allowed the fine tuning of the 927’s speed and its quick-start arrangement allowed a remarkably short starting time of less than 500 milliseconds at 33 rpm. The 927 was built in different versions, the ‘927A’, with an optical indicator of the position of the stylus on the grooves, the ‘927D’, a special reference version built with special care and very close tolerances for laboratory use, while the ‘927F’ could accommodate a second tonearm behind the platter, and ‘927st’ stereo version.
The ‘930’ is a large machine as well (49×39×17.5 centimeters), that maintains all the functional characteristics of the larger brother in a more compact package. Its very sturdy cast-metal frame, ‘Kunststoff’ (Bakelite) main board and idler-wheel drive to the internal rim of its heavy platter gives it peerless sonic qualities. The drive system, start/stop system, brake and speed control are exactly as on the 927. Its bearing, though of a slightly reduced diameter than the 927’s, is on par for quality, and it is a ‘wet’ bearing too: it contains 25 cc of special EMT oil, that must be changed every time the turntable is serviced. The preamplifier of the monophonic 930 was the tube ‘139’. The quality and reliability of the EMT machines became rapidly legendary and the 'arrowhead' logo became a symbol of German engineering at its best in professional studio audio equipment, the only possible choice for top radio stations and the phonographic industry.
With its more reasonable size, the ‘930’ was somewhat more economical to build than the ‘927’, making it a very interesting turntable even for smaller studios, but EMT was not building only exceptionally good (and extremely expensive) machines. In 1957 it began the production of another machine, the ‘140’ Reverberation Unit. Developed, like the ‘R80’ turntable, in co-operation with the ‘Rundfunktechnisches Institut’, the ‘140’ was one of EMT’s best products and remained in production for 25 years.
In 1958, the sound-reproduction world was shaken by the introduction of stereo, and 927s and 930s were quickly adapted to the new system with stereo cartridges, appropriate rewiring of the tonearm and the new stereo preamplifier ‘139st’; it was phased out of production when the more modern solid-state ‘155st’ arrived, in 1960. In that same year, Studer and EMT began to cooperate officially in the professional sound sector, the German firm becoming a distributor of the Swiss equipment for many world markets. The success of this company, directed by Eugene Sporri since 1962, is driven by the Studer C37 and Revox B36/D36 tube recorders. In the same period, the German firm printed the first issue of its fabled ‘bulletin’, named ‘EMT-Kurier’ in the German edition, ‘EMT-Courier’ in the English one. 46 issues were printed.
Wilhelm Franz, having expanded his factory (in 1963, the ‘EMT-Gerätewerk’ in Lahr-Kuhbach, directed by Franz’s brother Walter, employed more than 200 workers), was also following his other firms: ‘Elektromesstechnik Wilhelm Franz KG-Lahr’ sold ‘Loopmatic’, ‘Vid-E-dit’ and Studer products in Germany and the rest of the world, ‘EMT-Wilhelm Franz GmbH Wettingen’ distributed EMT products only in Switzerland, ‘Studer-Franz AG Wettingen’ sold Studer products out of their home country, ‘Thorens-Franz AG’ was the distributor for Thorens for the whole world. In the following years, while Studer/Revox developed their own distribution network (one part of whom originated from ‘EMT-Wettingen’), Franz slowly tightened its relations with Thorens until, in 1966, he bought a majority stake in the firm. The production of their turntable was then relocated from Wettingen to Lahr's Gerätewerk, because Germany's labor cost was far lower than Switzerland's.
It was also this close co-operation that carried, in 1969, to the birth of the first EMT tonearm, the fabulous ‘929’ (introduced in 1971 on the new ‘928’ and, since July of the same year, on the ‘930st’), loosely based on Thorens' 9” ‘TP-14’/BTP-12S’ arms. The 10” long 929 replaced the Ortofon ‘RF229/RMA229’, while the ‘long’ version of the 929, the 12” ‘997’ for the ‘927’, arrived in 1974 and replaced the ‘RF297/RMA297’ Ortofon.
In 1968, to try to fight the mounting tide of Japanese turntables, it was decided to try to ‘diversify’ the range of professional turntables, and the result of this attempt was the ‘EMT 928’. It was based on the excellent Thorens ‘TD125’, using its bearing, stroboscope, platter/subplatter arrangement and two-part sturdy chassis: both were designed and developed in the laboratories of the Gerätewerk. EMT modified the electronics, fitted their own RIAA-curve compensating circuitry and preamplifier, stiffened the suspension of the main chassis.
The 928, that used the new 929 tonearm, was the last EMT turntable to appear under the management of Wilhelm Franz, who died in date April 10, 1971, at the age of 58 years. The Audio Engineering Society awarded Franz a posthumous Honorary Membership in 1983, recognizing his impact in the professional sound field not only for his turntables but also for other products like the reverberation units ‘140’, ‘240’ and ‘250’.
The EMT 250 mobile reverberation unit in particular, designed in 1974 by freelance industrial designer Peter Bermes for EMT in close cooperation with EMT Technical Director Karl Otto Bäder and MIT Professor Barry Blesser, who had developed and patented the unit's digital algorithm, quickly gained a solid reputation primarily among west coast's recording studios in the US, due to its unrivalled sound quality and being nicknamed 'R2D2' because of its iconografic lever controlled interface, or 'Spaceheater' due to its vertical heat sink body made of black anodised aluminium panels and separate U-shaped 'Chimney', housing all heat-emitting ic's and therefore being painted red. Because of its unique sound and design qualities, the EMT 250 was selected as a permanent entry to the collection of the 'TEC Hall of Fame' in 2007. [2]
Then the company moved its headquarters in a completely new, 35,000-square-meter factory with a tidy two-storey building in Kippenheim, Wilhelm-Franz-Strasse 1. Following this expansive trend, EMT enlarged the new premises in 1976 and 1984. In 1978, the name of the firm was changed again, this time becoming ‘EMT-FRANZ GmbH’.
Direct-drive turntables were changing the habits of radio professionals; a rigid coupling between the motor and the platter was desirable for quick starts and stops. Accordingly, as the idler-wheel concept was beginning to look old-fashioned, EMT followed the example of National’s SP-10 and proceeded to build a direct-drive turntable: the ‘950 Schallplatten-Wiedergabe-Maschine’.
The EMT 950 Schallplatten-Wiedergabe-Maschine was introduced in 1976 in two types, ‘Standard’, (‘950’, 693 millimeters wide) with controls on the left side of the disc, and a ‘Narrowline Model’ (‘950 E’ or ‘Schmale Ausführung’, 519 mm wide, 573 mm deep, introduced at the end of 1977) conceived for less spacious studios; the ‘narrowline’ 950 had the same controls, but its pushbuttons were all lined up in the front panel. Starting time at 33 rpm was 200 milliseconds, and, just pushing a button, the record would rotate backwards to find the beginning of a track: the user could monitor the cueing with the inbuilt speaker. Both machines could be mounted on their own ‘legs’ or in a console; the shock absorber frame was built-in. In stock form, whichever the cabinet, the ‘950’ had three speeds (33, 45 and 78 rpm) with automatic selection of 33 or 45 at the raising of the central adapter for the smaller records, a ‘929’ arm in stock aluminium finish with brass or black counterweight and a ‘TSD15’ Tondose with ‘4 150 056’ transformers on the equalizer board ‘7 950 038’ or ‘7 950 088’ board (‘9 950 110’ or ‘narrow’ ‘9 950 210’). It was possible to order a tailor-made 950 to suit any professional need, provided that the customer could pay the extremely high prices of this machine. In 1976, 15000 Deutsche Marks was the basic list price of a 950.
To meet the needs of less affluent stations, EMT introduced in 1979 a new model, based on the same principles as the ‘950’: the ‘948 Broadcast turntable'. It had direct drive, sophisticated electronics and a ‘929’ tonearm, but in a much more compact envelope. Its Perspex dust cover featured a ‘groove’ where the DJ could put the cover as a handy reminder of the record that was being played. Basically, its design owed much to the superb construction of the ‘950’, and its sturdy metallic chassis was filled, under the deck, by a neat stack of boards carrying the electronic circuitry allowing an easy, quick access for service or repair. Though somewhat simplified if compared to the mighty ‘950’, the ‘948’ had the same illuminated pushbuttons, a wise choice of speeds and the reverse rotation of the record for cueing. After a first series, a green synchro light was fitted at the lower right edge of the platter to indicate the reaching of the nominal rotational speed. The external illumination ‘pod’ was available as an option, and was mounted on the left near side of the deck.
The ‘948’ cost around DM 12000 and was therefore still too expensive for many professional users. (For many customers in faraway countries, it was also too complicated, so EMT continued the production of the ‘930’ until 1982.) An even smaller and cheaper unit was designed and introduced in March, 1982: the ‘938’ ‘Broadcast Disk Reproducer’ (Rundfunk-Plattenspieler) featured a simplified direct-drive and electronics, it was slimmer and cheaper than its two brothers and some of its parts, like the plinth and lid, were taken from commercial ‘hi-fi’ products. The 938 had been designed in co-operation with Thorens, and a modified version of the 938 was marketed by this firm as the ‘TD 524’, a discothèque-oriented deck that could be equipped with a Thorens ‘TP 16L’ or even the EMT ‘929’ tonearm. The '938' cost around DM 6.000 without the upgradeable, pluggable moving coil cartridge preamplifier circuit board.
In 1985, the TSD 15 cartridge was improved, fitting an elliptical ‘super fineline stylus’ in place of the original conical one. Unfortunately, the writing was on the wall for the vinyl LPs and for the turntables built for them; the arrival of the 5” Compact Disc, in 1982, made an irreversible impact on the pro world. EMT began to produce CD-players as well (the first, in 1987, was the EMT 980, followed by the ‘981’ and then the wonderful ‘982’), but in 1988 sales of CDs overcame the sale of LPs for the first time in history, and the CD/LP ratio had been declining since then with the definitive disappearance of the LP from the mass market. This left little choice: at the end of the 1980s the last EMT 950 rolled off the factory in Kippenheim.
EMT was bought by the Belgian firm Barco and became ‘Barco-EMT’ on January 1, 1989. The production of professional audio equipment was gradually discontinued. [3]
A disc jockey, more commonly abbreviated as DJ, is a person who hosts recorded music for an audience. Most common types of DJs include radio DJs, club DJs, who perform at a nightclub or music festival and turntablists who use record players, usually turntables, to manipulate sounds on phonograph records. Originally, the "disc" in "disc jockey" referred to vinyl records, but nowadays DJ is used as an all-encompassing term to also describe persons who mix music from other recording media such as cassettes, CDs or digital audio files on a CDJ or a laptop. DJs may adopt the title "DJ" in front of their real names, adopted pseudonyms, or stage names.
High fidelity is a term used by listeners, audiophiles and home audio enthusiasts to refer to high-quality reproduction of sound. This is in contrast to the lower quality sound produced by inexpensive audio equipment, AM radio, or the inferior quality of sound reproduction that can be heard in recordings made until the late 1940s.
A phonograph, in its later forms also called a gramophone or since the 1940s called a record player, is a device for the mechanical recording and reproduction of sound. The sound vibration waveforms are recorded as corresponding physical deviations of a spiral groove engraved, etched, incised, or impressed into the surface of a rotating cylinder or disc, called a "record". To recreate the sound, the surface is similarly rotated while a playback stylus traces the groove and is therefore vibrated by it, very faintly reproducing the recorded sound. In early acoustic phonographs, the stylus vibrated a diaphragm which produced sound waves which were coupled to the open air through a flaring horn, or directly to the listener's ears through stethoscope-type earphones.
An audiophile is a person who is enthusiastic about high-fidelity sound reproduction. An audiophile seeks to reproduce the sound of a live musical performance, typically in a room with good acoustics. It is widely agreed that reaching this goal is very difficult and that even the best-regarded recording and playback systems rarely, if ever, achieve it.
A phonograph record, often simply record, is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove usually starts near the periphery and ends near the center of the disc. At first, the discs were commonly made from shellac; starting in the 1940s polyvinyl chloride became common, hence the name vinyl. In the mid-2000s, gradually, records made of any material began to be called vinyl records, or simply vinyl.
In sound recording and reproduction, and sound reinforcement systems, a mixing console is an electronic device for combining sounds of many different audio signals. Inputs to the console include microphones being used by singers and for picking up acoustic instruments, signals from electric or electronic instruments, or recorded music. Depending on the type, a mixer is able to control analog or digital signals. The modified signals are summed to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.
Scratching, sometimes referred to as scrubbing, is a DJ and turntablist technique of moving a vinyl record back and forth on a turntable to produce percussive or rhythmic sounds. A crossfader on a DJ mixer may be used to fade between two records simultaneously.
A digital audio workstation (DAW) is an electronic device or application software used for recording, editing and producing audio files. DAWs come in a wide variety of configurations from a single software program on a laptop, to an integrated stand-alone unit, all the way to a highly complex configuration of numerous components controlled by a central computer. Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece.
A magnetic cartridge, more commonly called a phonograph cartridge or phono cartridge or (colloquially) a pickup, is an electromechanical transducer that is used to play records on a turntable.
Technics SL-1200 is a series of direct-drive turntables originally manufactured from October 1972 until 2010, and resumed in 2016, by Matsushita under the brand name of Technics. S means "Stereo", L means "Player". Originally released as a high fidelity consumer record player, it quickly became adopted among radio and disco club disc jockeys, thanks to the direct drive, high torque motor design, making it initially suitable for pushbutton cueing and starting of tracks on radio and in dance clubs. It is still extremely popular with audiophiles.
The overwhelming majority of records manufactured have been of certain sizes, playback speeds, and appearance. However, since the commercial adoption of the gramophone record, a wide variety of records have also been produced that do not fall into these categories, and they have served a variety of purposes.
A record changer or autochanger is a device that plays multiple phonograph records in sequence without user intervention. Record changers first appeared in the late 1920s, and were common until the 1980s.
Stereophonic sound or, more commonly, stereo, is a method of sound reproduction that creates an illusion of multi-directional audible perspective. This is usually achieved by using two or more independent audio channels through a configuration of two or more loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing. Thus the term "stereophonic" applies to so-called "quadraphonic" and "surround-sound" systems as well as the more common two-channel, two-speaker systems. It is often contrasted with monophonic, or "mono" sound, where audio is heard as coming from one position, often ahead in the sound field. Stereo sound has been in common use since the 1970s in entertainment systems such as broadcast radio, TV, recorded music, internet, computer audio, and cinema.
Roksan is a British manufacturer of high fidelity audio products for domestic use, based in Rayleigh, Essex. It is best known for its influential and innovative design for hi-fi equipment, and in particular its Xerxes platform for playing LP records.
The Linn Sondek LP12 is a transcription turntable produced by Glasgow-based Linn Products, manufacturers of hi-fi, home theatre, and multi-room audio systems. Its name is derived from the 12" vinyl LP.
Ortofon is a Danish manufacturer of electronic audio equipment. It is the world's largest producer of magnetic cartridges for phonograph turntables, with 500,000 cartridges sold annually.
Technics is a Japanese brand name of the Panasonic Corporation for audio equipment. Since 1965 under the brand name, Panasonic has produced a variety of hi-fi products, such as turntables, amplifiers, receivers, tape decks, CD players and speakers for sale in various countries. It was conceived for a line of high-end audio equipment to compete against brands such as Nakamichi.
Graham Blyth is an English audio engineer who is known for designing mixing consoles. He is a co-founder of Soundcraft, a manufacturer which Blyth helped form into a world leader in sound reinforcement and recording mixers, establishing the "British sound". After succeeding in electrical engineering he became a professional organist, performing on pipe organs around the world. Blyth is a Fellow of both the Royal Society of Arts (RSA) and the Audio Engineering Society (AES). In 2012 he was awarded an honorary doctorate degree in science from the University of Hertfordshire.
The Roksan Xerxes transcription turntable is a record player named after the Persian king Xerxes I and produced by London-based Roksan Audio. Designed by Roksan co-founder, Touraj Moghaddam, the Xerxes is a belt-driven turntable with a solid plinth. Launched in 1985, the sound quality of the product positioned it as a strong competitor against the established industry leader, the Linn Sondek LP12. Many reviewers use the Xerxes as a reference turntable.
The Rega Planar 3, together with its successors, the P3 and RP3, is a well-known budget audiophile turntable by British hi-fi manufacturer, Rega Research available since 1977. It was a belt-drive deck that broke from convention, by employing a solid plinth in lieu of the compliantly-suspended chassis or sub-chassis used in many quality turntables since the early 1960s.