Upcoming Technics SP-10R (100th Anniversary Model)

You may not want the Dragon if you make your own recordings, Dragon is the ultimate machine with reverse for playing cassettes recorded on other decks with its continuous playback head azimuth adjustment. Dragon is not particularly reliable, costly and expensive to maintain. Just two days ago I saw 682ZX on ebay for $600 in apparently good condition, it sold immediately. Yes, decks require maintanance from time to time, every few years perhaps. I use almost exclusively Maxell Vertex cassette tapes - the very best available. They do cost at least $100 each sealed, I just have a small supply.
For recording 682ZX, ZX-9 and 1000ZXL are better than Dragon, with 682ZX being the best value. ZX-7 is excellent as well.

I am not sure that even the designers of Nak 682ZX knew how good it could sound. I use $1900 retail cables with it and also had custom transformer installed in it. And those cables outperform big time the previous $800 ones.
Anyway, to return to the Technics. I still don’t know its disadvantages compared to great or even excellent belt drive. Why would I want to pay $15k for it plus custom plinth plus tonearm when I could have, say, top of the line Pear Audio table with arm for $10k? Michael Fremer said that its midrange and overall presentation had tape like drive and flow. That’s very high of him to say it. Even with my Nottingham Spacedeck I can’t say that the dynamics is the biggest shortcoming. It could be better, sure, but with excellent recording it is pretty good, and I am the one who won’t listen to any system with not good enough dynamics and drive. In any case, I understand that it is very much a cult thing, it should sell well for $20k too.

Anyone can share the drawings of the custom made tonearm pods for Technics EPA-500 or EPA-100mk2 tonearms?  

Chakster, I don't understand your predicament, quite.  Over the course of time, some of the best quality LPs ever produced came to us from Europe.  In the good old days, my buddy and I used to look long and hard over here (typically at the now defunct Tower Records in downtown Washington, DC) for British, German, and even French pressings of US-made LPs or LPs that wholly originated in Europe. (Columbia recordings labeled "CBS" or Capitol recordings labeled "EMI", for two examples.)  I cannot imagine why you feel dependent upon imports of expensive used LPs from USA to Europe.  Moreover, I do not give a fig for the rarity or collectability of an LP.  The proof of the pudding for me is only in the playing quality and the musical content.  As a result, I own very few wildly valuable LPs, and I don't feel the need to accumulate them in my collection.  I would probably sell off (or more likely throw out) any $1000 LP that played badly or sounded awful.  In a few weeks, I will be attending the Capitol Audio Fest here in the DC area.  There will be a large room full of LP vendors and their wares.  I expect to load up on mint to mint minus LPs, at no more than $15 per LP or less. Yes, there will be $50 and $100 LPs on sale, too, but I resist them easily.

Guys, I am getting worried about Raul.

It depens on the musical taste, i like so called "black music", recorded and pressed in the USA in the 60s/70s, not in Europe. Shipping is $23-25 for 1 LP even if the record cost $10. Anyway, i pay for what i like. But taking shipping in count just prove that there are no more cheap records if they are not around the corner in the local recordshop or on the record fair, but they just don't have what i like. This is what my post is all about. Records that i like cost much less in the USA and prices for rare original pressings are getting higher every year on auctions (and they are not reissued). But this is just my situation with music that i like, can be different for those who're in the different music.