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Say it aint so--- Teres quality question

As a preface-- I have been a lurker here at Audiogon for a number of years, but have never posted.

Yesterday a review of the Teres 200 series table was posted at Audioasylum. I am extremely concerned about what was stated.

I have always read fantastic things about the Teres, but this reviewer seemed to consider some issues with regard to quality-- ie:

"Some minor issues...the wood platter is not 100% true on the horizontal surfaces...a very slight rise...I suspect this is the nature of machining wood?" as well as "Product Weakness: Platter slightly off true"

I plan on joining the Teres family -- but have developed some reluctance after reading this.

Perhaps some of the members here with first hand experience will be able to put my concern at ease with regard to the reviewers statement.

Here is a reference to the post:

Review by Angus Black III on January 06, 2004 at 10:35:32

Thank you, and a special thanks to TWL for the always informative reading.

Focusedfx

128x128focusedfx
jphii
485 posts
 
I'd like to know something too. How tall are your platters? Both installed & static height.

Joe
dennis_the_menace's avatar
dennis_the_menace
467 posts
 
my platter is about 2 5/8" tall. the gap between the wood base (is that the plinth?) and the platter is about 1/8", 6 3/8" high total off the shelf. (it sits in the bottom of a very large and heavy cherry tansu).
ngeorge
57 posts
 
Truly an educational thread. Thanks, all!

Conclusion: Teres is not perfect. Maybe going forward, Chris will now measure and make sure his tables are more uniformly made.

Best,
George
zaikesman
3,017 posts
 
Enjoying my lurk immensely. If it's any consolation, Psychic and I are getting info from someone in a position to know that the platters of our beloved SL1200's (of which the platter is my least-beloved part, for its resonance) have lately begun arriving in a 'non-flat' condition (yeah, they don't cost what audiophile TT's do, and also use a compliant damping mat, but our sort always likes to brag on the 70's-era Nipponese mass-market quality angle :-) Well, I got inspired by Patrick and went down and took a 7" aluminum architectural scale to mine ('83 vintage), and you know what? Approx. 1/64" uniform deviation. I think it's dished, and I think they knew what they were doing.

Jphii: I've got all kinds of radical ideas for a TT design - just don't know how to implement any of them or how well they'd work. Send me a million bucks and I'll be happy to share. ;^)

FWIW: Personally, I don't really see *slight* deviations from perfect platter flatness as ever presenting an audible problem, and if a wood platter sounded best, I wouldn't be scared to get it. IMO though, if one isn't clamping and using a mat anyway, the deviations inherent in the record will make this whole question nothing more than an academic point of aesthetics. (Sorry Focusedfx, but that's based on absolutely no personal Teres experience whatsoever, which will be my reason for making like Tom and receding back into the 'woodwork' now...)
sayas
188 posts
 
if you don't mind voids under the vinyl and the echo from the stylus etch coming back into the playback i guess a non uniform platter or making the vinyl conform to the platter is OK!

think about it, for a moment, you are trying to isolate and subtract not add. same reason you get a higher tolerance (quiet) spindle bearing or higher tolerance (quiet) motor or higher tolerance (quiet) arm bearing... i could go on but i think everyone gets the drift here

bottom line engineering out the imperfections in the tt components makes a better performing system. so by noise elimination in the tt, just as we prefer lp's with no ticks and pops, is the best chance to deliver the finest musical performances.

don't argue this point just consider the the compromises you accept to have a wooden system
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