Analog Corner #314: OMA K3 turntable & Schröder tonearm Page 2

Atmospheric pressure maintains a special grade of viscous oil at bearing height within the pressurized inverted bearing upon which the 14", 30lb platter rides.

The "high tech" bearing sleeve, which is fabricated from a newer, more advanced material related to PTFE (think Teflon), requires no lubrication. The bearing is not of the typical polished variety but instead has a microscopically rough surface, because the Teflon sleeve is designed to ablate under pressure and shed microscopic particles that then become embedded in the bearing shaft, producing a smooth, durable mating surface that over time improves the turntable's sound and lowers the already low noise floor.

Indeed, the new production model sounded "transient-sharp" when first delivered but then mellowed out to sound like the well-broken-in prototype.

The viscous oil and the carefully calculated platter weight produce a precise "pre-drag" load designed to resist speed changes; tight coupling between the rotor and stator field helps produce a "stiff" motor that also minimizes microscopic speed changes.

The "state of the art" motor control system used in the K3 is said to include an automated diagnostic and optimization procedure, but the design team found it sufficed only to get them "in the ballpark." Two years of programming and tweaking including blind testing totaling in excess of 1000 hours helped produce the final rotational performance. Weiss and Krebs found that, "much to their astonishment," the most minute speed changes were audible—"down to arc seconds of rotation." There are 1,296,000 arc seconds in one rotation.

A Bucknell representative stated in a letter to OMA that, based on FEA analysis, "platter and insert assembly are two critical components of a turntable because they [significantly] affect the frequency response of the turntable."

The research resulted in a ceramic-coated platter containing not only the aforementioned damping chambers within its machined aluminum alloy platter but also a constrained-layer– damped marine brass subplatter, layers of felt and polymer, and a circumferential high-frequency damping ring around the outside of the platter. The platter is topped with one of OMA's mats, precision machined from an extremely high grade of polycrystalline graphite.

Even the high-mass collet-type record clamp incorporates internal damping using the same mix of particulate matter and oil.

The 24V DC power supply
The K3 could easily run off of a "wall wart" cube, especially since the 24V DC supply does not directly drive the motor. The motor is driven by the digital motor controller—but a cheap supply for a costly turntable was never considered. Lab-grade "scientific quality" regulated power supplies were tested first, followed by custom supplies using batteries, and finally, a tube-regulated supply using a Xenon rectifier, which produced a surprising yet inexplicable sonic improvement, as judged by Weiss, Krebs, and OMA tech Douglas Eisemann, who conceived and implemented the idea. (Anyone who's compared Brinkmann's solid state and tubed motor power supplies would not be at all surprised.) Plus, housed in its own chassis, heavier than most turntables, and producing a dancing, Prince-like purple glow, it looks great.


Photo: Cynthia van Elk/OMA

Frank Schröder's SLM "aluminum girder" tonearm
This arm (which has no name, but needs one!), available only on the K3, is a typically elegant Frank Schröder design with an effective length of 282mm (11.1"). It is, according to Schröder, the first tonearm to be constructed with selective laser melting (SLM). The primary goal of the design, Schröder said, is to reduce energy storage to near zero, "which in part accounts for the lack of overhang throughout the sonic spectrum." As with his other creations, every parameter is adjustable, though the set points are mostly well-hidden to avoid "curious fingers" and dangling parts. This arm will surely be set up by a professional and not the end user, but setting it up is ridiculously easy.


Photo: Cynthia van Elk/OMA

The cartridge is first affixed to a porous, "foamed" aluminum plate, which secures to the arm with a single bolt—an oft-copied Schröder innovation. The adjustable offset angle is set with a small rod inserted through a tiny hole in the arm and fitted into the "foamed" plate; once that's set, the single bolt is securely fixed.

The disc-shaped counterweight rides on an articulated flat stub that rises and lowers in opposition to the arm's vertical movement for greater vertical stability and tracking-force consistency. This levered system allows for a lighter counterweight than would normally be found in a medium-to-high–effective-mass tonearm. Loosening a large, knurled set screw allows the counterweight to slide on the flat stub for coarse vertical tracking force (VTF) adjustment, after which a fine adjustment weight, which is built into the counterweight and accessed through an opening at the counterweight's rear, dials in the final VTF. Very neat and easy to use.

Antiskating compensation is based on magnetic attraction and repulsion and is adjustable via a magnet-tipped set screw.

A tiny, indexed wheel adjusts azimuth at the vertical bearing pivot by raising or lowering bearing pins set in a pair of inverted, self-centering cups.

A helicoid that forms the arm base and works like a high-friction version of a lens's focus or zoom ring neatly lowers and raises the arm for setting VTA/SRA once you've set the arm shaft height in the traditional manner. This is a very cool innovation and so easy to adjust! The arm alone probably deserves a column.

What the K3 does and does not feature
The K3 produced the best overall measurements I've encountered (figs.1 & 2), but not by large margins. Remember: The Platterspeed and shaknspin apps are not scientific devices; rather, they're intended to provide an informal baseline. I continue using them because the better turntables measure better, but neither does much more than take speed and wow and flutter averages over time.


Fig.1 OMA K3, speed stability data.


Fig.2 OMA K3, speed stability (raw frequency yellow; low-pass filtered frequency green).

The shaknspin measurements were equally stellar. Everything promised in the K3's lengthy information sheet proved true.

The K3 is solid as a rock, the Schröder tonearm elegant in its simplicity. The tonearm performed flawlessly with a wide variety of cartridges, board to be rigidly bolted to the rear of the plinth, so two arms can be used.

While OMA justifiably likens its K3 design to a cutting lathe—it resembles one more than any other turntable I've encountered—it omits one feature common to all: vacuum hold down. OMA's tech sheet claims that its damped platter obviates the need for it. That proved more or less true in terms of normal record/platter coupling, as long as you achieved a tight platter–record bond with the screw-on clamp; not doing so was audible.

Warped records are another matter. I love Haim's double-45rpm set Women in Music Pt III (Columbia 19439748311) including the cover, shot at Canter's Deli on Fairfax Avenue in Los Angeles. More than two dozen salamis hang behind the three Haim sisters, and the "now serving" number is set to 69.

The first record has a warp the OMA can't handle. That's something to be considered when spending $360,000 for a turntable with tonearm, or $400,000 with dedicated stand, or $450,000 for all of that plus OMA's phono preamplifier, which is incorporated into the stand. However, the $1150 ORB DF-01iA disc flattener can solve the problem. Review to come.

Together, the two K3s have been here for 10-plus months. They performed flawlessly—as you'd expect from an "industrial grade" machine, and that includes the rectifier tube in the power supply. Trouble-free, fun to use, built like a critically damped tank, OMA's K3 appears to have the "last a lifetime" goods and sonics to keep you happy from now to the inevitable.

K3 sound
The K3 was fast, clean, detailed, highly resolving, super-transparent, effortlessly dynamic, and capable of producing unparalleled transient precision and depth-charge-deep bass "wallop" that's fully extended yet totally free from overhang. The K3's "hit fast, hit hard, linger just long enough, and then get out of town" performance could not have been more different from the Air Force Zero's. That would come as neither a surprise nor a disappointment to either 'table's designers—although my time with Mr. Weiss leads me to believe he'll be disappointed that I didn't write that "the K3 blows the fat, sluggish, energy-retaining Air Force Zero out of the water."

I've heard my share of fat, sluggish, bulbous-sounding turntables and thin, lean, edgy, bass-deficient ones too. The sonic performance of these two super-'tables—and that of the SAT XD1, which sonically sits somewhere in between—isn't accidental. All three are purposeful and intentional in design and sonic outcome.

The K3 is brash and bold (which doesn't mean bright or mechanical), while the Air Force Zero is velvety and reserved (which doesn't mean timid or sluggish). I'd give the silent-backgrounds nod to the Zero (over every turntable I've yet heard) and the pristine, explosive transients nod to the K3.

Repeating the "Time Out" and "Fever" tracks used in the Air Force Zero review in the September 2021 Stereophile made the sonic differences between the two 'tables clear. Which you would prefer depends on your sonic preferences, though I can't imagine anyone not being transfixed by both. Will you hear the K3's rendering of Joe Morello's kickdrum hits as truncated and stingy compared to the Air Force Zero's or as more precise, more nimble, more cleanly rendered yet no less powerful? Will you decode the Zero's sustain generosity as "time stoppingly unique and exciting," resulting in a bigger, more generous soundstage with more space around the instruments, or as perhaps a tiny bit too thick and too slow for your sonic sensibilities?


Photo: Vincent Dixon

The finger snaps on Elvis's "Fever" were not as fleshy through the K3 as they were via the Air Force Zero, but the transient snap was faster and more clearly defined (with the same cartridge) yet it was certain you were hearing flesh, not corn popping. Preferences will differ, but any fair-minded listener hearing these two 'tables would be certain they were hearing two of the best turntables ever made. Both will stop you in your standing or sitting tracks!

The K3 was a cartridge differentiation champ. It clearly defined the timbral and textural differences between Lyra's Etna SL Lambda and Atlas SL Lambda. The Etna's midrange was fuller and fleshier than the Atlas's, which produced a somewhat leaner but more transparent picture. Ortofon's Anna D, which some critics find harmonically threadbare—I don't, at all—let fly with satisfying midband riches, bottom-end wallop, all of the detail the Replicant 100 stylus produces, and the startling 3D imaging and soundstaging for which it's known (when correctly set up!).

The "unobtainium" Craft "Small Batch" pressing of Yusef Lateef 's 1961 classic Eastern Sounds (Moodsville/Craft CR00229) opens with Lateef blowing into a Chinese globular flute. It has a particular whistling sound like (as the annotation says) blowing into a soda bottle. Lateef is on the left. Barry Harris's piano sits well back center stage. (Rudy gets it right this time.) Percussion is on the right—a rhythmic tapping of an unidentified something or other plus what sounds like a jangling tambourine—an utterly natural, transparent, and convincing presentation via the Anna D with airy flute roundness, sparkling, effervescent percussion, and zero overhang.

As with any truly great audio product, regardless of price, the OMA K3 turntable speaks with a singular voice.

I spent a great deal of column space describing the product and probably not enough describing the sonics, but hopefully you got the picture. There was so much honest, innovative technology to cover, all of it important to understand. The K3 is a from-the-ground-up, truly innovative design with a unique, flashy-and-functional faáade—whatever your reaction to its looks. In many ways, the K3 reminds me of the Continuum Caliburn, from the international design team to the effective mix of science, art, and reach-for-the-stars innovation. However, 16 years later, the K3's turbocharged, precision performance blows the chrome doors off of the Caliburn, although it is still a great turntable and a classic design. Time marches on. Records spin round and round.


Anton's picture

It seems technology can now do what balsa wood and Exacto knifes used to do!

So cool!

There used to be a guy who built these out of wood and would show them at Hi Fi Shows back in the 80s and 90s...I apologize for forgetting his name.

It's nice to see materials science (can we still use that word, science?) catch up with engineering imagination!

ok's picture

attack/decay effect MF describes (or at least so I think) by simply placing/taking away some weight on top of my integrated. I have no clue how in the world is this really being done.

daveyf's picture

In years past, I recall a few high end companies that were concerned about the aesthetic appeal of their product, as such they hired someone called an ‘industrial designer’. These folks were tasked with coming up with something that would be aesthetically appealing, as well as workable with the electronics and functionality of the piece in question. I would assume that OMA omitted this step…

Jim Austin's picture

OMA employed a rather well-known industrial designer: Ana Gugic of Rome, who worked for architect Massimiliano Fuksas on the Shenzen International Airport and personally designed the Armani boutiques in New York and Tokyo.

Best not to confuse your own taste with good taste. :-)

Just making fun here (but the designer part is true).

Jim Austin, Editor

AnyMajorDude's picture

Ana Gugic seems to be employed as an architect at Dilber & Stolfi according to their website, where she is mentioned. But her profile does not even have a picture.

„Dilber & Stolfi architetti is a laboratory of architectural, interior and industrial design, co-founded in 2006. They have since collaborated with luxury brands of the ready-to wear sector like Giorgio Armani and Gianni Versace.
They have hands-on exeprience on creating new interior concepts, and adapting them concepts to different situations throughout the globe.
Main projects include:
Flagship Store for ARMANI in Hong Kong;
ARMANI Caffè in Doha, Qatar;
VERSACE Boutiques and VERSACE COLLECTION Stores in China, Singapore and Russia.“

tonykaz's picture

Do you have any personal experience with this Transducer System ?

Ready to wear Luxury Garments doesn't seem a likely resume for what amounts to a ultra sensitive seismograph designer.

Then again, Versace Boutique in China might raise important eyebrows.

Tony in Venice Florida

ps. All this hype seems like an April 1st spoof, can it play "Certified Audiophile Recordings"?

Jason Victor Serinus's picture

When I was in China perhaps a decade ago, one saw signs for Versace in major cities.

tonykaz's picture

Thank you for writing,

Did you happen to see any Record Players when you were there ?

By the way, your reporting on that New Zeeland piece of electronics was pretty far over my head. It's brave of you to attempt stuff like this. phew. Still, I hope you continue with streamer examinations, you seem to have a knack for this type of technology. We need you and your opinions!

Tony in Venice Florida

Michael Fremer's picture

Are cosmetic. I heard an earlier iteration in a square box that perhaps was more suited to your tastes

jgossman's picture

This table is ugly as sin. It's not about money, or style, or panach. It's about just not being attractive. I am a Realtor also, and the ugliest most unlivable houses are almost always designed by Architects. The best homes are usually designed by builders on a napkin and handed to a draftsman who then hands it to an engineer to make sure it works. These modern table designs just prove to me that because an engineer CAN build anything doesn't mean they SHOULD. This table looks like a building because it was designed by someone who designs buildings. And if you replace the lower ring with a glass storefront, it's not a particularly attractive building.

Michael Fremer's picture

It's a very attractive turntable and building

vince's picture

> You'll find this issue's cover girl either strikingly beautiful or homely.

When I first saw this table I fell into the homely camp. After reading the article and spending some time at the OMA website I find myself in the beautiful camp. It is unusual, but its beauty is definitely more than skin deep. I say carry on OMA.

Michael Fremer's picture

Or substituted sarcasm for the fact that the design didn't please you.

daveyf's picture

I guess beauty really is in the eye of the beholder...because maybe she should stick to designing airports and shops ( which would put her as an architect..not an industrial designer...minor difference!) I hope they didn't pay too much for her design!! LOL.
Best not to confuse good taste with the taste of OMA....
assuming they actually did use her design -??
Look at the plinth and the rough edges...for a paltry $360K!...Now who's making fun here.;0)

Gojira's picture

High torque of the motor and no vacuum suction?

According to my experience and numerous experiments, the biggest advantage of vacuum suction is the maximization of the transferred force from the motor to the records.
The smoothing of corrugated records seems to me to be only a pleasant side effect.

daveyf's picture

Having said that the aesthetics of this table are not what I think are attractive, I do applaud this company for attempting to move the SOTA as far as analog reproduction is concerned. If the results of their efforts are doing that ( which if we are to believe Mikey F, they are) then this is a good thing for the analog world...and music lovers in particular. The pricing strategy is something that one can accept or not, but if we take that out of the equation ( which Mikey F always does...) I think it is good that there are folks who seem to want to continue on with the endeavor of better and better analog reproduction.
If their design is successful, it is a good thing, as hopefully we will see similar advances trickle down to more sane pricing levels.

tonykaz's picture

kinda says it all, doesn't it?

Mr.daveyf describes the main feature of this device: insanity of pricing !

Why is Insanity the main Feature of Our Front Cover?

Tony in Venice Florida

MatthewT's picture

Where else are we going to read about gear like this? I'll wait for you to produce a similar product for 2 grand, a "sane" price for a TT.

tonykaz's picture

and. a whole bunch more.

I even bought a Goldmound with the Linear Arm for less than $2,000!

The Gyrodeks come in a wide range of metal surface Finnish

Tony in Venice Florida

ps. of course if you are just looking to spend money there are many people willing to help you.

MatthewT's picture

Asked you to produce a similar table to that reviewed for 2k, as in you make it.

tonykaz's picture

Do you have personal experience with this Record Player?

You do seem to feel equivalency of some sort is in Question.

Are you presenting a philosophical argument??

MatthewT's picture

With "insanely" priced gear. Go ahead, make us a TT to compete with this one as reviewed. Where is the Kaz TT?

volvic's picture

LOL!!!! I snorted my protein shake!

Anton's picture

Does your turntable compete with this one?

tonykaz's picture

How is it that you could know how well this reviewed device performs ?

Do you have any personal experience with this device????

Tony in Venice Florida

tonykaz's picture

Can you reveal your personal experience with this reviewed device ?

Tony in Venice Florida

tonykaz's picture

Why bother, the market is saturated.

There are about 70,000 known Vinyl hobbyists according to the people that collect data like this.

Steve G's latest guest suggests he only has Audiophile Grade recordings ( not all that many ) and has turned to Tape which has about 500 Audiophile grade.

Vinyl collecting is a pricy hobby who's participants collect hundreds of times more music than they will ever be able to play during the rest of their lifetime.

If a person is a Blue Note lover, buying records is necessary
If a person is a 78 lover, collecting is necessary.

The big Vinyl Houses are tending to show vinyl sales to be a Big Collector, speculator, Sealed, Unplayed, Never played, perfect, mint condition type of experience.

Garage Sale Vinyl is still out there. Fill a room with misc. vinyl for $1 per album.

Vinyl isn't about $250,000 record players, it's about a basement filled with sagging shelves supporting a disorganised 10,000 Albums.

One of Steve G's vinyl reviewing buddies revealed that he mostly only uses 100 or so records.

The KAZ tt is No Turntable

Tony in Venice Florida

ps. you can have your record player but well over 50% of the Audiophile Population don't.
ps. I'm not complaining about you, I'm complaining about Vinyl Hubris

Michael Fremer's picture

Is Stereophile a co-op? This is not in any way "your" cover.

tonykaz's picture

Hmm, oh really !

This is a Subscription Journal. Take away the Subscribers and you are left with an empty auditorium and no ticket sales. Who are you promoting for and to then ?

Comments like yours seem reflective of a hubristic attitude.

Thanks for writing,

Tony in Venice Florida

Siegfried's picture

Fever's rhythmic sounds like the hit of the 2 parts of castanets to me. Sounds sharp ans woody to my ears. I play a rip of the AP SACD via a "modest" 2500 euros Holo Spring 3 (add the price of HQP and of a Mac mini and of a NUC and of networking stuff to be fair). I'm not a vinyl hater, much much prefer the 45 Classic of Time Out over the AP SACD

Ortofan's picture

... really.

Michael Fremer's picture

Finger snaps. Sorry.

Siegfried's picture

No finger snappers are credited; drummers are. Do yourself a favour and listen to AP's SACD through a decent digital front end. Maybe you'll get it now that you have improved your power supply... Or prove me wrong, get a first hand testimony, session footage, what have you. I listened to Ziggy Stardust this afternoon and much preferred my MFSL 33 over SACD and hi res remaster : I'm not a vinyl hater at all but when 500K turntables can't get it right, I have to mention it. Maybe the blame is on your Wilsons?

fever's picture

i have collected more than 1100 different versions of Fever, which is probably the biggest collection worldwide of this song. so i can claim a certain familiarity especially with the few iconic versions. but first let me explain why i started collecting Fever at all. the reason is very on topic. it was … Elvis Presley's finger snapping.

bback in the 1990s i edited a small underground audio magazine in switzerland. i used Fever on Elvis Is Back as one of my litmus test records: if this track didn't make my feet tap, the DUT was not worthy of my time, period

more than 30 years ago, i used the same recording for the same reasons as MF. it is a minimalist recording with few instruments, excellent transparency and fast transients.

however, the reason why i started collecting Fever was a Letter to the Editor accusing me of BS by insisting that the "finger snaps" i wrote about were in fact wooden sticks (or castanets). at that time, i only had two versions of Elvis Is Back – a 1970's RCA (US pressing) and a 1980's german pressing. i only ever played the the RCA pressing because the first time i listened to the the german pressing, i found it to sound intolerably thin and threadbare,lacking the flesh, depht, warmth and the transparency of the US pressing

Reading the letter prompted me to give the german version a spin, and yes, there weren't fingers snapping, but wooden sticks banging together. (not castanets; these sound different again).

this of course caused a buying spree of any pressing of Elvis Is Back i could find. among them a still sealed first pressing (from RCA's Indianapolis plant as the dead wax would later reveal), a couple of US, UK and european mono pressings, and – most of all – reissues from many countries and years

all the older pressings clearly showed that there were real fingers rubbing together and releasing a snappy transient.

many reissues from european pressing plants seemed to be cut from the same cruelly "remastered" source (i.e. they used an old, worn 10th-generation tape as base and added EQ and reverb to make up for the tape's muffled, lifeless sound. and obviously the mastering engineer didn't hear very well or else he would have restricted himself from killing the lifeless sound dead with EQ, compression, limiter and whatnot.

so IF you hear wood sticks or castanets on Elvis' Fever, this means either that you are listening to one of the awful late '70s to mid '80s "remastered" pressings – OR your amp and/or speaker sucks. consider this: if you bang two wooden sticks (or castanets) together, the first thing you will hear is the impact of wood hitting upon wood. this creates a very fast, but tonally light sound. depending on the room, reverb, mic etc., there will be some echo. but the echo will never overlap with impulse because sticks create a very short, almost needle-like sound

the sound of finger snapping on the other side is not created by an impact, but of a sudden release of tension. by pressing thumb and (mostly) middle finger together and moving them in opposite directions, they will create a sharp, short sound the mmoment they part ways. finger snapping varies wildly in pitch, loudness, tone, harmonic content etc., depending on force, pressure, speed, friction (try snapping with oily or wet fingers).

so on one side you have the sound of a collision, on the other of controlled release of tension. the sound is similar, but not identical. wooden sticks on a collision course will resonate depending on the type of wood, diameter, length, force etc. snapping fingers will not resonate because flesh does not resonate…

an aspect common to both versions, Peggy Lee's as well as Elvis's, is their lasciviousness. a lot of this is of course due to the singer's phrasing, timing, intonation etc. i have a DVD on which Peggy Lee's arranger and bass player, Max Bennett, says that he first heard Fever in a juke joint in Las Vegas. hearing the original soul version of Fever, he remembered his boss asking him for "a torch song" and re-wrote the arrangement together with Peggy Lee. Bennett really delivered, with emphasis on "torch". (and at the same time, they created the first drum&bass tune ever). so what makes Lee's (and Presley's) Fever so torchy? common to both versions is that they have snap and sizzle. normally, the rhythm section would be responsible for the snap, and the singer deliver the sizzle. in Bennett's arrangement, the roles are reversed: he and Sperling create the sizzle, Peggy Lee adds the snap (literally, on her versions, she does the finger snapping, i.e. she is her own rhyddm section. a great example is this version .

Elvis copied Bennett's arrangement in pretty much every sense – except that he not only snaps, but also sizzles. finger snapping can create tension by slightly varying the timing or by being ahead of the beat.

you can't create sizzle and snap (let alone lasciviousness) by violently banging things together. finger snapping on the other hand is the controlled release of friction, pressure and tension. (now if that description isn't an innuendo, what is?)

add to this that it's much harder to keep precise timing by banging two sticks of wood together compared to snapping your fingers.
why would anyone even only consider, let alone use wooden sticks or castanets in order to create snap and lascivious tension?

so who did the finger snapping on Elvis' Fever? here's all the takes it took to create this masterpiece . listen closely and you'll notice that it wasn't one person, but two in (almost) unison, one left and one on the right. the snapping is quite low in volume, an effect you couldn't create by hitting wooden sticks.

Siegfried's picture appears to provide well documented confirmation that we actually hear finger snaps on her version. I can't find in your links well documented confirmation that we actually hear finger snaps on Elvis' version, just assumption that he retained the idea for orchestration. And "Finger snaps" sound distinctively different on Peggy Lee's and Elvis' versions

directdriver's picture

Place a candle above the spindle and you have a birthday cake.

I think it would look a lot better if they shave off the bottom four layers.

Anton's picture

But that would just add more labor and cost to pass on to the consumer.


Rodan's picture

Not having vacuum hold-down capability on a turntable at this level is inexcusable. Especially given OMA's "cutting lathe" pretensions. Can anyone name a cutting lathe that doesn't feature vacuum hold-down?

directdriver's picture

I believe the earlier Scully lathes do not have vacuum hold down, relying only by the cork mat and clamp. All Neumann lathes use vacuum hold down, which became the norm for many studios and gave the public the impression all lathes use vacuum hold down.

Rodan's picture

Thanks for the correction. I'm now wondering whether there are folks currently using non-vacuum lathes. It just seems like such an effective means of ensuring cutting consistency.

daveyf's picture

These days it seems there are a number of turntable manufacturers and others who are shooting for the $500k price point. How they come to these numbers is anyone’s guess, but I do question why they seem hesitant to break into the million dollar mark..and go even further still…$3m, $5m etc., Like I mentioned on another forum, the folks who are buying at $500k will have no issue buying into the millions…and the others are not there at the current price levels. To that, I would ask Mikey F…Is there a price point where you feel that the product is too high priced for what it offers? Inquiring minds and all that…….

Anton's picture

It is not the reviewer's job to say when the price is too high, only to comment upon the absolute performance.

It's like those unspoken rules of baseball.

It surprises me that the duPont registry does not yet have a Hi Fi section.

daveyf's picture

It is absolutely an option for a reviewer to make comment on how one product compares to another, and this certainly can include allusion to the value proposition.

Michael Fremer's picture

Comment on value

daveyf's picture

??? in relation to what???--

directdriver's picture

I hope to see a formal review of the tonearm, which is the main interest to me in this review. The turntable is just too... err... visually challenging for me even if I have the money for it. The tonearm and the technology involved would make a great read.