If I could afford, I’d purchase 100% Oswald Mills Audio gear

@dover.  You keep track of my qualifications and my alleged transgressions on A'Gon. Really?

For the record. I hold a New Zealand Certificate in Engineering (electrical). Back then it was a 5-year part time or 3-year full time qualification from Auckland University of Technology. Pretty sure that this is a tertiary Engineering qualification. 

I let my work speak for itself and would be more than happy to engage in respectful, meaningful peer to peer discussion on my design choices and theirs. There are many ways to build a TT and I admire other designers who have pushed the envelope with their innovative creations. Their designs are a genuine effort to advance the medium. Hopefully we are collectively holding the analogue flag high.

Cheers. 

Interesting perhaps for Mike Lavigne, I just read M Fremer’s review of the Lino C phono stage, which was done using the Krebs K3 and the Schroeder K3 tonearm as source components.He makes a specific point that “sustain” was for him a remarkable virtue of that combination regardless of cartridge. So we have one opinion that may be in conflict with Mike’s privately offered sample.

@lewm 

i have changed my mind on my perspective about the K3 since my comments above, in October 2021, eighteen months ago. a month after i made those comments, i spent 2 days at a small local audio show where Michael Fremer was present, and was able to talk to him quite a bit and about the K3 particularly.

i don't now consider that the K3 is lacking in musical sustain and my expectation would be that along with it's other attributes that i would be more than satisfied in that regard. which is in contrast to how i had read Michael's review comments.

so right now i would view the K3 "as" my cup of tea. unfortunately i'm not in a position to be in that price range for a turntable. and if i was not sure it would be my top choice, but it would for sure be high on the list.

Thanks for your candor and responding, Mike.

You can get solid construction for much less, maybe not lumber/timber but Baltic ply, which has performance advantages over plain timber. The wood on Fleetwood's speakers is stabilized by torrefaction, which is an improvement, but at a cost. They are worth more than cheaper-made, including those with Baltic ply, but does that mean $22K a pair? I don't happen to think so, but the marketing at Fleetwood aims at low-volume at a high price with fewer buyers at a tier that isn't shopping for the lowest-priced OMA speaker, which is probably better but of course at a cost of $15-20K over the Fleetwoods.(Monitor and Mini.)

I am happy to see someone making what OMA makes. It is a marker for what is possible if money is not limited, and different from so many other halo product producers at the highest cost tier. I am also happy to see what others with a similar respect for vintage design are doing, Tim Gurney and Vu Hoang with their reinterpretations of Western Electric theater horns. Theirs aren't attainable for most either, but the craft isn't dead because of them and the few like them, and that is reassuring.