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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
lugnut
1,190 posts
 
Okay, maybe I didn't state the obvious about wooden musical instruments. They do require periodic attention by a luthier. Having owned two Martins myself since 1969 I had them tweaked a total of three times. I'm guilty of over simplifying. I figured readers would have a grasp of the abuses a stringed instrument undergoes and the stresses required for it to play. None of these issues are faced by a turntable platter. Hey Zakes, I sold my 000-18 to an old employer about twelve years ago and the last time I asked it was still under his bed, unplayed. Occassionaly I long for that guitar but prefer the dreadnaught bodies. Like stereo gear it would be nice to have multiples.
jphii
485 posts
 
I still have my D35. After owning about 30 in my lifetime, I kept the Martin and a Takamine classical signed by Lee Ritenour. I keep them temp & humidity controlled!
zaikesman
3,017 posts
 
Yeah, my only acoustic right now is a 70's Yamaha dreadnaught that belonged to an old girlfriend (yes, she gave it me, no, I didn't steal it, or even particularly want it, but it serves OK). I like the sound of a more narrow-waisted, rounded-bout guitar than a dreadnaught. I'd also love to get a really decent classical instrument, but hardly know where to start in that department...
twl
3,251 posts
 
Currently building 2 D-41, 2 D-45, 2 D-18, and a Venetian double cutaway dreadnaught. The D-41's are maple of course, and we used some very nice quilted maple on one, and a superb feathercrotch maple on the other.Bindings are snakewood on these maple guitars,and flamed maple bindings on our dark wood guitars, as we don't use any plastic on our custom guitars. Full D-45 style abalone trim. The snakewood bindings and trim on the tail, neck heel, headstock, bridge, and back strip, really give a killer look. We are even using a snakewood fingerboard on the feathercrotch guitar. Fancy maple and snakewood is an awesome looking combination. The double cutaway is from exhibition grade Bubinga and bound with flamed maple. All have master-grade German spruce tops and our custom German Spruce modified X-bracing(similar to pre-war). Honduran mahogany kerfing and blocks, and Honduran mahogany one-piece neck. Alot of work, but they are great sounding and great looking instruments. This bracing allows medium strings without worrying too much about "bellying" the top.

Sorry to drift off topic, but I had correspond with the other guitar buffs.
4yanx
1,576 posts
 
Speaking of both cocobolo and guitars, my son recently acquired a Taylor 710LTD which has a cocobolo two-piece back. Sounds deeper in tone to his 414ce in Ovangkol and when opening the case, I get a wiff reminiscent of coffee! :-)
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