Because Chris and I have adopted the same armboard architecture, it will be a simple matter to compare both base designs using the same arm/cartridge in the same system.
Base: The base is a simple 4 layer MDF affair with the layers bonded together with North Creek "soft glue". North Creek claims that their soft glue is superior to carpenter's glue from the perspective of producing a better damped speaker panel. Quite frankly, I don't think this glue differs significantly from carpenter's glue as far as producing a better damped MDF lamination. I had a liter of this glue on hand however, and didn't want it to go to waste. One negative about this glue is that dries with a slightly rubbery texture. This makes it impossible to sand a smooth edge where the laminations join. As a result of this, I resorted to a faux-granite finish, using Krylon's product: "Make-it-Stone". This product hides a multitude of surface flaws including the rubbery edges between the MDF layers.
Because the bearing will accommodate only slightly more than 2.25" of base material, the bearing passes through the top 3 layers of the base. The 4th (bottom) layer has a 5" diameter hole to allow access to the bearing nut.
The dimensions of the base were arrived at by first determining the distance between the bearing hole and the armboard mounting hole. I solved the Pythagorean theorem with the known values for (a) the hypotenuse which is the record spindle to arm pivot distance for the Audiocraft arm (220mm = 8.66") and (b) the distance from the armboard mounting bolt to the arm hole (2.625"). This resulted in a bearing hole to armboard mounting hole distance of 8.25" when the armboard is perpendicular to a line drawn between the bearing and armboard holes.
From these two points (bearing hole and armboard mounting hole - separated by 8.25") I drew 2 circles - one with a 12.25" diameter and another with a 3-3/4" diameter. I then connected these two circles at their points of tangency.
The actual cutting of the partial circles was done with a router (one layer at a time), with the points of tangency showing me where to stop. The straight sections between these points of tangency were cleaned up with a belt sander after the four layers were laminated together.
Before laminating, I drilled the bearing hole through the top 3 layers
and cut the 5" diameter hole through the bottom layer. The threaded mount
for the armboard is a rod coupling nut (a long nut - perhaps 1" long) which
was bolted to the top layer of the base before laminating.
Arm/Cartridge: Currently I am using an Audiocraft AC300 unipivot arm with a Benz M0.9 cartridge, although I am investigating the possibility of building Pierre Laergaard's air bearing, linear tracking arm which is purported to outperform the Moerch DP-6.
Stand: Stands should be thought of as an integral component of any turntable base design. Linns and ARs for example sound muddy when placed on high mass stands. A Sota I previously owned really began to sing when moved from my light and rigid Sound Organization stand (which worked so well on my Linn) to a massive stand. I have every reason to believe that a massive stand is more suitable to the Teres as well as other unsuspended turntables. I have nearly completed a stand which resembles the one Chris has in service. When the weather warms up this Spring, I will complete it in order to test this theory out.
I have temporarily pressed into service the Archi-Dee stand which was in use for my Merrill turntable. This stand is of the light and rigid philosophy. It is a square, tubular frame with an MDF honeycomb top plate called Torlite - popularized by Russ Andrews in the early 1980's
The externally viewable surface of the "stand" is actually an outer shell whose sole purpose is to support the dust cover assembly. None of the viewable (faux-granite) surface touches the actual stand or its top plate.
-- Thom