|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
189.226.202.85
In Reply to: RE: Teres Audio is going to close? posted by SgreenP@MSN.com on April 13, 2014 at 16:17:52
Do you know other companies that closed recently?
Follow Ups:
Manley is on their way out....I had products from Melos, Infinity (when it was a real speaker company under Nudell), Harman Kardon Citation, GAS company (Bongiorno), Nakamichi ...and so it goes.
Edits: 04/13/14
On looks alone Manley stuff deserves a thousand deaths!
> > Manley is on their way out...
And you know that to be a fact how?
Fax mentis incendium gloria cultum, et cetera, et cetera...
Memo bis punitor delicatum! It's all there, black and white,
clear as crystal! Blah, blah, and so on and so forth ...
Manley Labs is rocking strong. Sales are up. Just had our strongest July ever. We just launched a major new product in the studio market. We're over 30 folks strong in Chino, not China. I guess we are too busy working to post on forums much anymore, but I'll try to check in more often. Back to work!
--
Cheers, EveAnna Manley
That's what I asked below .
Hearsay and unsubstantiated rumors don't do anybody any good, neither manufacturers nor consumers. I'm all for getting to the bottom of things and knowing what's happening but have a strong aversion to rumor mongering.
Brian
So much music, so little time!
I've been pronounced discontinued, out of business, maybe even dead for all I know, yet here I am. Sometimes rumors help business, though. Hopefully, Manley will sell a few pieces as a result of this bs. :-)
Does that make you like Mark Twain, who was credited as saying, "Rumors of my death have been greatly exaggerated"?
Love ya, Win.
Brian
So much music, so little time!
I think that the Manley amplifiers have a spectacular view.
And I remember another company that I think is no longer in the business: Golden Tube Audio.
Their 100 watts per channel tube amplifier has a very nice view also.
> Manley is on their way out
What is your factual basis for this remark?
Brian
So much music, so little time!
from Mosin's quip. The high end belt-drive tt's have probably taken a bit of a beating from the recent surge of interest in direct-drive and idler-drive. I think Continuum is circling the drain, if not already gone, too. Also, Teres never was much for marketing. Ironically, if they do go away, folks will be "collecting" their product for years to come.
About two months ago, I saw the last model of the Teres turntable, the Certus 440 direct drive high torque motor without cogging I think at $15,000.00. It is possible to see something about it in this site: http://www.teresaudio.com/haven/
Before the Certus 440, there were other turntables with a Drive Wheel - The Verus II motor.
Well, every time I see a new or improved model of any product of an audio company, automatically they are saying that their products are or were bad.
Belt drive is bad, idler drive is bad and now after more of 40 years direct drive turntables with high torque motors without cogging are better.
But none of these machines at whatever price can eliminate the annoying noise of vinyl records.
Then you either need to find some quiet LPs, of which there are many, if not most, both old and new, or... go to another website.
New products or updates of existing products do not indicate that the previous version was "bad" in any way, but I agree it is a ticklish situation for the manufacturer to both market an update and still maintain the excellence of what went before. Usually, "updates" are an indicator that sales of the original were flagging anyway, and the update is done to stimulate new purchases. The owners of the previous version are appeased by making the upgrade available after market, which also generates some revenues. There is nothing new or insidious about this practice. Nor is it unique to the audio business, unless you are still driving a Model A Ford.
In the current marketplace for direct-drive turntables, the Certus might represent a relative bargain, if it is as good as reports would indicate. For those who like vinyl, of course.
His remarks are merely what you'd expect from a digital troll.
Now all we need is for Teresa to show up ;-(
Cheers,
Al
I have over 800 vinyl records since the 60s and they all have more or less noise and many of my favorite albums are quite noisy, for instance The Tokyo Blues of Horace Silver. I bought this album 50 years ago.
Well, last year I bought an "audiophile" version of this album with two discs of 180 grams and 45 rpm. I had to spend $50.00 plus more expensive shipping and customs taxes because I live in Mexico.
The 2 discs are cleaner than the old one but on the 4th track “Cherry Blossom”, there is quite remarkable scratchy noise.
So, I bought an expensive noisy record and I have being buying other new records. All of them with noise, even one with “orange skin”.
Noise and vinyl are always together.
I have an almost new Denon DL-103SA MC cartridge that is perfectly adjusted in all parameters and the stylus obviously is in perfect shape.
I think that is very frustrating that almost no one has the right product and I think also, that this is part of marketing to maintain unsatisfied custumers that continuously buy new “better” things.
For me that I am not a rich man the Certus is not a bargain.
For less than $800.00 I bought a used impeccable Special Edition VPI/Denon DP75 turntable with a high torque direct drive motor without cogging.
The features: Turntable body mounted on a floating heavy and hard plinth made of sandwiched steel, aluminum, lead and wood weighting about 15 kilos and it is over springs on a wood base with aluminum spikes. The total weight of the turntable is around 30 kilos.
With the turntable were included a GST 801 tonearm and a Shure V15 Type V cartridge with broken needle for the same price. I purchased all on eBay winning the auction.
I don’t know if mine is better or not than the Certus and I don’t care.
Curiously the specification of the speed accuracy in the Denon is better than the new DD from VPI at $30,000.00
The Denon is a great piece of engineering I could afford it, but as I wrote before cannot remove noise from my records.
You can't speak the truth about vinyl and noise, it's simply not permitted man!
"Middleground", indeed.
Helpful to what?
I have a Denon DP80, close cousin to the DP75. Mine is mounted in a slate plinth and I use a Dynavector DV505 tonearm on it. I agree those are great tables. I cannot or would not afford a $30K tt, either. But that's beside the point. No one said that you must have a very expensive tt to enjoy vinyl or even to make vinyl "quiet". (A turntable alone can never do that anyway, since most noise is introduced from the LP surface, by the propensity of the cartridge to translate surface noise into signal, or from the phono stage, way ahead of tt noise per se.) If you just don't like vinyl, you should be looking elsewhere for audio pleasure. No point beating on what you seem to feel is a dead horse.
I would like to hear what you consider to be objectionable "noise" on your vinyl system, but that won't happen because we live thousands of miles apart. Certainly your one specific mention of a singular Horace Silver LP does not prove your point. However, I suspect that you are bothered by kinds of noise that the rest of us can ignore in favor of the greater verisimilitude of vinyl compared to the various alternatives. That does not make you a bad person. For you, there is digital.
All of that said, if you told us more about your vinyl reproduction chain, someone here might help you to minimize the noise you find so objectionable.
Hi Lew,
I hope you do not mind my video. The intention is not to bother anyone.
I would write some more reasons why I'm so frustrated with vinyl.
About the "Tokyo Blues” and other albums, I wrote to Jason Marcum of Elusive Disc this:
“Hi Jason,
I am really disappointed with both vinyl albums that have loud pops and ticks.
The first, HORACE SILVER/THE TOKYO BLUES *ANALOGUE PRODUCTIONS/BLUE NOTE has several annoying pops in the second record, side 3 (The Tokyo Blues) after the beginning of the piano solo. A close inspection with a loupe on this vinyl shows something like a small cavity into four grooves and in “Cherry Blossom” (first track of side 4) are many ticks and soft pops but without visible damage.
The second, MFSL 2-316 MICHAEL BRECKER/PILGRIMAGE *MOBILE FIDELITY (2LP) have many ticks and pops on almost all the tracks and I found a scratch of around 6 millimeters on the middle of the first track of disc 1; side 2: “Anagram”.
It is written somewhere in this MoFi album: “…there may be occasional pops or ticks inherent in initial playback, but as the disc is played more, a high-quality stylus will actually polish the grove walls and improve the sound”.
I've never heard anything like that, but if this is true, please send me a list of high-quality cartridges that their needles polish the grooves to take out the noise of many of my old vinyl records.
Anyway, I did not imagine that these expensive audiophile discs would so noisy.
The answer of Jason:
LET’S FACE IT LP'S IN GENERAL ARE PRONE TO PROBLEMS LIKE THESE, IT IS NOT A PERFECT FORMAT. THESE PROBLEMS EVEN THOUGH THEY STILL HAPPEN ARE MUCH LESS FREQUENT THAN IN THE PAST!
Please return your damaged LP’s to Elusive Disc.
Hi is right in part, because it was quite common that defective records with dust and debris were recycled and the “new ones” have noise for this reason.
I am sure that many of my old LPs have this problem and the new records that are not made with virgin vinyl are like those ones, and the cleanest albums that I bought many years ago are from Germany, Italy and Japan. The quality of their vinyl is better than those “audiophile” records.
Well, the defective albums were replaced without cost but the noise of “Cherry Blossom’s” track is practically the same.
Months later I bought also other expensive album hoping that it is clean: Cape Verdian Blues of Horace Silver (2 records, 45 rpm and 180 grams) at $70.00 with some clicks in several tracks and a loud pop.
Someone said to me that a few clicks, pops or scratches are acceptable, because the music on vinyl is so involving that those few noises are not important.
My answer: “Probably you don't want to wear a tailor suit, with all kind of spots. Not even with only 1 or 2 of them. I think you would want to wear an impeccable suit and even more, if it is expensive.
For me, just one single click or pop in a new “audiophile” record of $50.00 or more, is inadmissible and is not for Hi End Audio”
I bought other new records in CD Universe and several of those are with loud pops and clicks. I returned for reposition and the replaced has exactly the same clicks and pops in the same points of the tracks.
These noises came from the master disc and consequently all copies have the same noise and I received too one with "orange peel".
There is no quality control in vinyl manufacturers!
But this is because the most people accept that vinyl is noisy and never make a claim.
Finally in some of those new records I bought of Blue Note, the sound is less natural than the old ones I have and in one it is written that the record comes from the original digital master tapes. So, I have the sound of a compact disc with the noise of vinyl.
Bad luck not, as Jason Marcum said: Let’s face it LP's in general are prone to problems like these, it is not a perfect format.
And I say: Vinyl is noisy, it is the AnoiseLog format.
I am sorry, but I do not understand why many people bother with me if I am saying practically the same of the General Sales Manager of the biggest vinyl store in the world.
Lew, thank you very much for your interest in my problems with vinyl and accept my best regards.
Also, I received yesterday an email from Elusive Disc with the new things they have.
One of those are three titles in reel tape, something like backup copies of the original master recordings at $600.00 each.
Well, I can say now that Hi End Audio does exist, but only in the most expensive format today and only in a few examples.
I think these tapes are not going to last too much.
The links:
https://mail.google.com/mail/u/0/?shva=1#inbox/1456c8ed862828c5
http://www.elusivedisc.com/Groove-Note-180g/products/253/
Hi Lew,
Digital is not the way.
I have an open reel tape deck and my tapes with Dolby B are clean (no noise) with a natural sound and they can convey the emotion of music.
The format is not perfect, but certainly superior to vinyl and digital and it is my reference.
Because of this and what I think about the current formats and hi end audio, I made a video.
Some people, who saw it, were upset and I received insults, mockery and other things that are far away of the matter of what I am saying.
I don´t want to bother anybody, just to say the true about the current formats.
This is the link: https://www.youtube.com/watch?v=rjTQsY8rhaM
Also you can see my equipment in Inmate Systems under the name of CHAFUSTIC.
Thanks and best regards
Trolling?
Do you mean the noise of vinyl records? Yes it is an utter nonsense.
Who is trolling?
"Well, every time I see a new or improved model of any product of an audio company, automatically they are saying that their products are or were bad.
Belt drive is bad, idler drive is bad and now after more of 40 years direct drive turntables with high torque motors without cogging are better.
But none of these machines at whatever price can eliminate the annoying noise of vinyl records."
That is mewling of a brat. You don't like vinyl don't listen to it. But the statement that you made above is simply moronic and the fact that middleground agrees with a statement like that says all that needs to be known about him.
In both cases.
See what I mean?
Run along, there is no noise in the vinyl kingdom...
When into the music, what's a pop & a click here & there ?
If you go to a live concert there's people coughing, sneezing, talking & silently farting ( not to mention more often then not, a shitty sound system.
Nothing is perfect!
The last series of Teres turntables were direct drive tables under the model Certus. I think their downsizing has less to do with drive system than their lack of advertising. On top of that, their Certus models are too expensive for the market from a low key brand and too high from the price of their old belt drive tables. They're probably better off by continuing selling their belt drives. I give them props for venturing into DD land though. I hope they will bounce back.
I think they wanted prospective buyers to view the Certus as a TOTL ideal, while they continue(d) to market and support their rim drive option ("Verus?") and their belt-drive line of tt's, which were much less expensive than the Certus, while the Verus option could be applied to the belt-drive tt's. They tried to "do it all" in other words. The path they took is now to some degree followed by VPI, which also now has all those options. I hope VPI will not stumble on that road.
Or maybe it's just that Chris got tired of the business. I'd loved to see and hear a Certus in action.
> I'd loved to see and hear a Certus in action.
Do you go to audio shows? You can see a lot of exotic turntables at audio shows. The thing that impresses me most is that none of them sound better than my own and most of them don't sound quite as good. That's the best part of going to audio shows for me. ;-)
See you at AXPONA Chicago.
Best regards,
John Elison
I've been on both sides of the numerous shows, the consumer side and the manufacturer side. I can honestly say that I've never heard a system at a show that comes anywhere close to the equivalent systems people have in their homes. Shows are not about the best attainable sound, they are about approximating sonic characteristics of components and showing product. They are about introducing components to consumers, dealers and distributors. Letting people get up close and personal with products.
Typical room conditions at shows are absolutely terrible for listening to or evaluating equipment. It is a manufacturer's nightmare.
Mr. Elison, after hearing you describe the quality sound you get from your system and the ability to dig out details when comparing cartridges, I would be surprised if any table performed as good as your table under show conditions.
Its convenient for those in the hifi biz to blame hotel rooms (including the adequately large rooms I've heard some rotten sounding megabuck systems playing in which had multi-thousands of bucks worth of room treatments placed by the manufacturers/dealers) for bad sound at shows. I've heard plenty of rooms at shows that had good sound coming from setups ranging from downright cheap to waaaay past my financial limit.It always seems silly to me when people blow off how something sounds at shows due to "room conditions", as if our own listening rooms are all acoustic gems, not to mention plenty of reviewers' listening rooms.
I've been to four hifi shows in NYC. Of course there were exceptions, but the overwhelming majority of rooms that hyper-expensive products were playing in were at least adequate to the task and AFAIK as acceptable as the listening rooms of plenty of hifi reviewers and many of our own. I came away from all four shows feeling a lot of those very expensive hifi products weren't even remotely worth the asking price. Actually I felt many were sucker bait. Conversely, my impressions of most relatively inexpensive setups was that they sounded at the least worth the asking price, and quite a few shamed a number of the high priced spreads. Bear in mind I'm not talking about situations like humongus spkrs. set up in tiny rooms where they have no chance to display what they're capable of.
Naturally its best to judge hifi when listening in a room with great acoustics, and there's no substitute for auditions in our own homes. But to automatically discount what we hear at shows seems ridiculous to me. If you're gonna take your products to a show, set 'em up and play music thru 'em rather than just have a visual display, spare me the bullshit excuses. Think your products can't sound good in a hotel room/hall? Then either don't bring them to a hifi show or don't have people listening to music in your room.
Edits: 04/14/14
Rick W: "If you're gonna take your products to a show, set 'em up and play music thru 'em rather than just have a visual display, spare me the bullshit excuses."
Agree.
While I tend to be sympathetic to your arguments I'm also sympathetic to those manufacturers/retailers who find themselves in terrible rooms and it's too late to back out. I've also heard systems that sound bad on the opening day of a show and -- for whatever reasons -- just fine on the closing day. Too bad for the people who weren't able to give them a second chance (not to mention the manufacturers).
I've always made 2 or 3 visits. Sometimes setup on the first day is rushed due to any number of things, and exhibitors may make adjustments for the 2nd day. If I either really like what I hear in a room or think a very high priced system should sound much better, I may go three times.
'Course some of those visits may be very short if each time I go to a room they're playing either basically sound effects to demonstrate frequency extremes or audiophile pap :-)
I've been told by an exhibitor that his AC was sagging greatly with every room on a floor hosting a high-end system. I wonder what the sonic impact of that was.
The shows I've attended have been at the Hilton and the Waldorf. They were big shows in big hotels, loaded with hifi setups playing music, loaded with guests using AC, loaded with running appliances used by the hotels.Funny how some rooms in the same hotels with the same AC hassles sounded damn good and others didd't, and the good sounding rooms weren't all small setups (as opposed to "current hungry" systems).
Many of the exhibitors who find one excuse or another for bad sound are not show novices. They know what to expect. Just as I mentioned the elaborate room treatments some of 'em employ, I've seen some very expensive line "conditioners" and power re-generators employed in rooms with systems that sounded either bad, mediocre, or nowhere near worth the $$$$$$$.
I don't buy into the excuses. If its such a shitty place to showcase SOUND, why the hell do they play music in their rooms and why are they charging us to listen?
Edits: 04/14/14
As a consumer who values gear that ignores the differences between perfect power and the ugly type of power I'll surely see at my outlets I'd say this type of real world performance evaluation is a great opportunity for hearing the truth for yourself.
I'm surprised the manufacturers with the types of designs which only perform well under optimal conditions even display at all.
Such a rough world when to make sales you must show your equipment under real world conditions and the gear miraculously can't achieve the performance it does under ideal lab conditions. Wah! I'm with you Rick.
Well, if true it would affect different rooms differently since each design would have a different tolerance for it. Some power supplies can operate on a wide range and some go way out of spec if the power droops by 5-10VAC.
We can give all the explanations and rationale we want. He's clueless.
If equal parts of arrogance, condescension and ad hominem guaranteed achieving good sound at shows.........exhibitors would be lining up to hire you as their setup man.
nt
You obviously are clueless about what manufacturers are faced with at shows. No sense in even trying to explain how #$^@$* you sound.
nt
Well, once you reach a certain level of performance, it just doesn't get any better. There really aren't any turntables that sound better than mine. I'm sure there are many that sound just as good and there are many that sound different, but once you reach a certain level of performance, it just doesn't get any better -- only different.
Best regards,
John Elison
I'm not sure improvements can't be made, but the better you get, the more subtle the improvements. It becomes the point of very highly diminishing returns on investment.
You've sort of explained why, after one trip to RMAF, I have chosen not to attend any audio show beyond driving distance, which fortunately for me still allows me to attend the Capital Audio Fest, each of the last 3 years. And the reason is that I can tell very little about a component in the context of an audio showroom. For example, how do you really know that no turntable you've ever heard at a show is as good as your own, since most likely no other part of the system you are hearing has much in common with your system? Perhaps you can do that. I cannot unless the turntable is truly awful. Same goes for cartridges, interconnects, AC cords, phono stages, CDPs, etc. On the other hand, I agree that one can make a pretty good judgement about speakers even at an audio show, by comparing one room to another, etc. It's a lot of work. At RMAF, I quickly learned that some highly touted and very expensive speakers that I previously admired from afar were not worth the lusting for. That was therapeutic.
Edits: 04/14/14
The main reason I go to audio shows is to get together with friends and to see people I haven't seen in awhile.
Best regards,
John Elison
Great reason. After a while, that's why I went.
Edits: 04/14/14
I fully agree, that WAS the best benefit of my one visit to RMAF.
Post a Followup:
FAQ |
Post a Message! |
Forgot Password? |
|
||||||||||||||
|
This post is made possible by the generous support of people like you and our sponsors: