van den Hul Colibri Grand Cru

silviajulieta

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I have a lot of respect for Mr. van den Hul. He is a gentleman and a real artist. He loves music and cares deeply about satisfying his customers. At least that has been my experience. These cartridges are the result of incredible passion for his art.


Dear friend: From many years and as you I share your words about A:J van den Hul the man and his cartridges. I would like to share with you some things that could or not helps your enjoying room/system experiences with those cartridges:

My first vdH cartridge was the Frog that still is good performer and after that came ( in no order. ) the Grasshopper, Condor, Black Beauty and several Colibri samples been the latest the Stad Signature.

I learned several things about and some of them really makes a difference for the better, for me with my self audio/MUSIC sound priorities/targets and in my room/system the best performer is the cartridge with the lower output of 0.22mv and with the old black " plastic" body but not as wider cartridge top plate like the today ones. The wood cartridge different bodies just can't " do it ".

The Colibri makes things that no other cartridge I experienced can do specially at the high frequency range where for some owners could sounds a little brigth or aggresive in that frequency range and even shirll and with sibilance but all these adjectives are part of orfrom a near field seated position ( same as recording microphones. ) real SPL live MUSIC.

You can make a test by your self: please make a high SPL shout say with the word what's and you will note your self sibilance and with out microphone, just do it.

I really like the 30 TT and in Agon always supported and I'm owner ( between several today and vintage tonearms. ) of the V tonearm and owned the 3009 and 3012R you own.

For today quality performance standards the 3012 is not the rigth tonearm for any single LOMC cartridge and never for the Colibri. The arm is not very well damped ( this is a necessity and obligated characteristic in any arm because is what the cartridge ask for. ) and to resonant not only for that but for the kind of bearing design and I'm refering to that knife part of the arm bearing and I know very well the performance of great knife bearing design ( not good performers either but very well made and very good look. ) the double knife SAEC 8000 and the 560-30 that I owned for years .

I'm not the only one that do not like knife bearings Maybe some of you already know about Sao Win that between other things designed a LOMC cartridge with ruby cantilever ( I own it. ) but he designed too a starin gauge one and TT/tonearm that you can see here:


https://www.usaudiomart.com/details...-table-dr-sao-win-original-tonearm-and-motor/

well Mr. Win in his LOMC cartridge operation manual stated a big warning: please don't mount our cartridge with knife bearing tonearms, he was very specific about and you can be sure that he knew the why's behind his warning to his customers. Yes the knife tonearm designs are really bad on its quality performance and yes I know that as you several audiophiles die for the SAEC tonearms or the one you own.
The other bad issue with the 3012R is the SME removable headshell that along the Orsonic and SAEC ceramic headshells are the worst headshells ever: extremely resonant and I know it because I owned all mated with top LOMC cartridges and MM/MI too and my opinion are shared for other knowledge audiophiles.

A.J. van den Hul loves vintage Technics cartridges and tonearms and for very good reasons and I know that because I was lucky to meet him one time several years ago and he was the only cartridge manufacturer or re-tipper that fixed my Technics EPC 100C MK4 MM cartridge even I helped a gentleman with the same problem that me with the same Technics model.
This cartridge was his reference for Mr. van den Hul for several years as was the Technics EPA 100-MK2 tonearm.

In the very first moment that you listen a Colibri mated with the EPA 100-MK2 tonearm you will know why vdH him self loved it.

Look, the best cantilever build material is boron and diamond by its very high Young Modulus measure/value because in that cartridge place any cartidge designer knows it needs zero resonances and stifness and boron is the metal one that fulfill those needs and things are that the Technics EPA 100MK2 tonearm all arm wand and removable headshell was made with Boron ! ! ! and additional to that incredible choosed material the tonearm has a unique damping mechanism never beated or even by any other tonearm designer: just outstanding as its jewels bearing but the design execution quality level is second to none ( Technics belongs to the Japan gigant Matushita enterprise group. Do you need resources of every kind they have it. )) as is its unique VTA set up mechanism. A dream of tonearm for any MUSIC lover or audiophile that competes with the best of the best today tonearm designs.

So for me is the perfect match for your Colibri not that ( sorry ) 3012 that's not up to the task .

Other great great tonearm that can run not only with your Colibri but with any today cartridge is the MAX 282 ( 3 different arm wands and very well damped unique balanced design with no ringing, etc, etc, ) by MS. The MAX 282 along other great vintage tonearm the GST-801 are the only two tonearms in the audio history to be balanced designs and both with different VTF set up designs that do it with out any single kind of ringing or any noise as all the other dinamic balanced tonearm designs including the today ones.

Both tonearms could needs a internal rewiring with Audio Note UK 300 wire or the Kondo or:
https://www.zavfino1877.com/4litz3ag-pure-silver-tonearm-re-wire-kit well the GST-801 too.

Sorry to disturb you, I'm trying to help nothing more. Btw, very difficult to compare cartridges when mounted in different tonearms.

Regards and enjoy the MUSIC NOT DISTORTIONS.
 
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PeterA

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Peter. Do you normally use the DB protractor or the card board protractor that came with the SME arm? What do you prefer?

Sorry Tang, I forgot about this question. I use the DB protractor which I got from DDK. I find it to be more accurate than the SME cardboard. It is an excellent tool but I always confirm the alignment after I know I have the right VTA and tracking force.
 

PeterA

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Peter, like Van Den Hul you are on another level ! Your observations and meticulousness when it comes to all things analog is of the charts, and your steady hand takes some excellent pictures :)

Thank you for the kind words Lagonda. I have a lot of patience and interest in the subject, but I still have a lot to learn and appreciate the advice from those with more experience.
 
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PeterA

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Hi Peter - are you saying you had a Master Sig converted to Gran Cru specs?

Thanks, Joe

Hello Joe. Yes, at one time I had two master signature cartridges and when I sent my first one back for it’s 250 hour inspection and fine-tuning, AJ asked me if I wanted it modified to a new model which had not been announced or released yet. I said yes, and he completely rebuilt it. This is the cartridge I just got back from it’s 250 hour inspection and he lowered the output and changed the damper as per my requests.

In a sense his cartridges are bespoke, if the customer requests particular specifications. Sometimes he adjusts the cartridge for a particular tone arm’s effective mass. He is very accommodating and the service is excellent.
 
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silviajulieta

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and appreciate the advice from


Dear friend: I don't want to disturb you or disturb any one else in any way but exist something really important other than the subjective " I like it " expression with SME tonearms that is not subjective but a fact with precise and clear foundations.

Exist an argument/true fact that comes by SME it self and please permit me explain about:

SME was a subsidary company of a big industrial enterprise in the aero-space/automotive market, SME was important to them but at the end a side line.

SME created the V model after several years of research in many aspects for a tonearm design, " thousands " of tests, tonearm voicing in way different top room/systems with top different cartridge models and at the end they started in the market with the model V.

What changed they from all the past tonearm models they were and had for sale?. Evberything, yes everything. SME V was and is a total other way around direction a total departure from the 3012 and all of you take in count how many years now the SME V is still a reference from where came the other today SME tonearm models:

- starting with its main target design: fulfill the cartridges needs not only hold it as the 3012 design.
- the knife bearing part just gone and appeared an ABEC 9 gimball great bearing.
- choosed a self damping buil material with the magnesium.
- non-removable headsell.
- tapered arm wand shape.
- dynamic balance design.
- different counterweigth position.
- silicon paddle for necessary damping.
- excellent very low resistance/capacitance silver internal wiring.
- extremely high quality design execution build.
- way different alignment tonearm base.

and several other characteristics. That is a tonearm designed to help the cartridge very hard task not like the 3012R that only can hold the cartridge and nothing more than that.

I know that for many of us the important personal subject is what we like and this is fine, no problem about. Now, for me what I like has no main importance but what is rigth or wrong because if what is wrong I like it then I'm wrong no matters what and in the other way around when is rigth always I will like because when " things " settle down the quality performance level in any room system always goes higher and our MUSIC enjoyment be enhanced.

Maybe this post makes no sense to many of you but make sense to me and that's why shared those facts.

Regards and enjoy the MUSIC NOT DISTORTIONS.
 
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PeterA

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Dear friend: I don't want to disturb you or disturb any one else in any way but exist something really important other than the subjective " I like it " expression with SME tonearms that is not subjective but a fact with precise and clear foundations.

Exist an argument/true fact that comes by SME it self and please permit me explain about:

SME was a subsidary company of a big industrial enterprise in the aero-space/automotive market, SME was important to them but at the end a side line.

SME created the V model after several years of research in many aspects for a tonearm design, " thousands " of tests, tonearm voicing in way different top room/systems with top different cartridge models and at the end they started in the market with the model V.

What changed they from all the past tonearm models they were and had for sale?. Evberything, yes everything. SME V was and is a total other way around direction a total departure from the 3012 and all of you take in count how many years now the SME V is still a reference from where came the other today SME tonearm models:

- starting with its main target design: fulfill the cartridges needs not only hold it as the 3012 design.
- the knife bearing part just gone and appeared an ABEC 9 gimball great bearing.
- choosed a self damping buil material with the magnesium.
- non-removable headsell.
- tapered arm wand shape.
- dynamic balance design.
- different counterweigth position.
- silicon paddle for necessary damping.
- excellent very low resistance/capacitance silver internal wiring.
- extremely high quality design execution build.
- way different alignment tonearm base.

and several other characteristics. That is a tonearm designed to help the cartridge very hard task not like the 3012R that only can hold the cartridge and nothing more than that.

I know that for many of us the important personal subject is what we like and this is fine, no problem about. Now, for me what I like has no main importance but what is rigth or wrong because if what is wrong I like it then I'm wrong no matters what and in the other way around when is rigth always I will like because when " things " settle down the quality performance level in any room system always goes higher and our MUSIC enjoyment be enhanced.

Maybe this post makes no sense to many of you but make sense to me and that's why shared those facts.

Regards and enjoy the MUSIC NOT DISTORTIONS.

silviajulieta,

This and your first one are quite interesting. I wonder if you should post these in the thread I started about the comparison between these two arms. That thread is located here:

https://www.whatsbestforum.com/threads/tonearm-comparison-sme-3012r-and-sme-v-12.20128/

One other difference that I did not see you list is the offset angle of the bearing matching the offset angle of the headshell. This affects how the arm behaves with changes in arm height.

I happen to own and enjoy both arms very much. I used the same cartridge in both arms. There are slight sonic differences I hear in my system, but the arms are much more similar sounding than different, at least in my system. I would describe them as different rather than in terms of better/worse. Relevant here is that I received no indication from Mr. AJ van den Hul that I could not use either of my Colibri Grand Cru cartridges in either of my tonearms.
 

silviajulieta

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There are slight sonic differences I hear in my system, but the arms are much more similar sounding than different, at least in my system

Dear friend: Thank's but no thank's, appreciated.

You know me and knows that I'm truly straigth/direct on my takes and that's one reason I don't accepted it your invitation there but help me to seen your room/system. Other reason is that is futile ( for me ) to listen through those shared videos, I not even make any intent about.

I like and know very well the Magico overall performance and I know too almost all Pass electronic items. With out trying to disturb you and if your quoted statement confirmed your other posts in this thread then your room/system is in serious trouble. Somewhere down there through any or some of the room/system links.

That fireplace disturbing me and I don't know if you have some kind of room treatment inside it. Other than all what I posted to you is that added arm-pod that makes things worst because the V12 is " moving " in " sympathetic " way with the TT and the 3012 just did not.

Your comment that want to mount the V12 in other independent arm pod is, for me, very bad idea.

Dear friend if I was you I will put on sale the 3012 and buy any other tonearm ( EPA 100MK2/MAX282 or today design one as the Kuzma 4P. ) that can be mounted directly in the 30 TT. But even if you do that I think that you have to use your knowledge and patience to look for a weak room/system links because you are unable to detect the serious differences should be exist exist in between that analog set up: your room/system ( by what you posted. ) seems to me that has not the adequated quality resolution levels and you need to find out why.

I think I read in one of your posts that you are loading the cartridges at 47K and maybe you phono stage is not " confortable " along the cartridges with that kind of impedance loading. That loading is not inside the vdH recommended load range. You can try/make tests changing load with different way lower impedance values.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
 

Lagonda

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And the windmill Jousting begins !o_O
 

PeterA

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R., Is that for Raul? Raul from Audiogon? I did not recognize you here at WBF. How is that tonearm design of yours coming along? I remember you discussing it years ago. I also remember you telling me that you thought the SME V-12 is a completely different arm than the SME V. Do you still think that?

Thank you for your thoughts about the SME arms. Since you are discussing these two tonearms more than the Grand Cru cartridge, I simply suggested that you move your discussion to the thread about the SME tonearms, but you seem to want to discuss these arms in a cartridge thread.

I have tried many loading options with all five of my Colibri cartridges. The 47K loading is at the top of the range according to both Mr. van den Hul in email confirmation and as written in the specifications listed on the box. He does recommend 500 ohms. The cartridge sounds fine at 350, 500, 1K, and 47K. It is just a bit more closed in at lower values and does not sound as convincing to me. A friend has the same phono stage and he loads his Ortofon A90 also at 47K ohms. I have indeed experimented and listened with many different values.

I think we will just have to disagree about the sound of my system. I am not suggesting that it sounds like some iPhone video. Most people understand that. Yes, the room is not ideal, and I would prefer a larger room without the fireplace, but it is what I have.

Perhaps you would like to start another thread about why you do not like the SME 3012R tonearm and give all of the reasons. I see that you did not comment about the angle of the bearing matching the offset angle of the headshell. Do you have an opinion about that?

At the end of the day, this thread is a discussion about this fine cartridge, it is not a discussion about my system and what you imagine it sounds like.
 
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Lagonda

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No, I do not think there will be any jousting, nor will the discussion continue much further.
Resistance is futile Peter ! o_O
 
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silviajulieta

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Raul from Audiogon? I did not recognize you here at WBF. How is that tonearm design of yours coming along? I remember you discussing it years ago

Dear friend: Yes, same R. About our self tonearm design it's already finished, as a fact rigth now I have mounted in my system 3 " prototypes and working splendid for say the least.

As with our self phonolinepreamp Essential 3160 ( the one at my place is the 3180 due to its up-grades. ) SS design the tonearm was designed and builded starting from zero and it's a unique and different tonearm design not a copy of " this " and of this other " and the like.

We designed and builded both audio items due that almost all the phonolinepreamps in the market ( even today ones. ) and tonearms in the market just can't fulfill the overall cartridges needs and reproduction of its beloved signal according it an according as my way demanding MUSIC/soun reproduction room/system targets.

I also remember you telling me that you thought the SME V-12 is a completely different arm than the SME V. Do you still think that?

Yes.because normally similar tonearm designs the longer one has more disadvantages than the advantage of lower tracking error that's in theory an advantage but that in reality could goes the other way around because exist no way to make the cartridge/tonearm alignment with 100% accuracy and zero tolerance: always will exist alignment errors and as longer the arm as more " dangerous " could be those normal error. All these affects the quality level performance on both tonearms. I took in count that and many other important characteristics in my tonearm design and that's why is not a 12" one and neither a 9" but in between 10"-10.5" that is an excellent compromise.

Here I paste what the SAT designer says about and that due to my bad english is better with his words ( there are other issues but these is the most important information. ):

""
Rigidity
Firstly, the arm is a mechanical device which main tasks are to hold the cartridge steadily
centered in the groove and at the same time allow it to move, following the spiral
geometry of the groove as the record is played, as well as coping with the imperfections
all records show to some extent - warps and eccentricity.
The function and performance of an arm is therefore best analysed by its behaviour from
a mechanical point of view, as a mechanical precision instrument rather than a musical
instrument. My design approach with the original SAT Pickup Arm has been to analyse the
physics of the interaction between the stylus and the record, from that, derive a set of
requirements for the arm, convert them into a set of specifications and finally implement
them into a design.
While it is impossible to see with the naked eye, the cartridge and arm components
deform at microscopic levels while playing a record. This can be measured with
accelerometers, laser vibrometers and simulated by finite element analysis. The
displacement of the stylus, forced by the groove, causes a deflection on the cartridge
suspension. This generates a mechanical load on the cartridge which is transmitted to the
arm - this load is constantly changing in level and direction, modulated by the groove. The
loads are small but more than enough to affect the tiny components of the cartridge and
the arm, forcing them to bend and twist.
It is fundamental to understand that every relative movement of the stylus with respect to
the cartridge body will generate a signal - it doesn’t matter whether the movement comes
from the stylus or the cartridge. If that movement is purely generated by the displacement
of the stylus in the groove, then we are getting a read of the music, exactly what we
want. When the cartridge body moves, not just at a macroscopic level but at the same
microscopic levels of the groove modulations, that also generates a signal, though in this
case, it doesn’t correspond to the information in the groove and is therefore distortion.
All bodies deform under the effect of a load - a force, a torque, a pressure, etc. As the
cartridge is so sensitive to minuscule movements, at such small levels that are actually
difficult to grasp, even the smallest deformation of the cartridge components and the arm
will generate a false reading of the groove and therefore distortion. The more the
components deform, the less accurate will be the groove reading and the sound quality
will suffer. We are talking about deformations in the order down to nanometers
(1/1.000.000 of a millimetre).
It is then obvious that any engineer would want to design this groove-reading devices as
rigid as possible in order to reduce the detrimental deformations. That wouldn’t be any
problem if the arm didn’t need to allow the cartridge to follow the warps and eccentricities
- we could then use a very big, massive structure and have deformation levels orders of
magnitude lower than with current designs.
Unfortunately, we need to deal with record imperfections and the limitations that the
cartridge suspension imposes on how massive an arm can be. This is why designing and
building a truly high performance pickup arm is such a demanding task - two main
opposing requirements must be met: very high rigidity and very low resistance to free
movement in the vertical and horizontal planes.
The moment of inertia of an arm, which is related to what is usually called effective mass,
represents a measure of how much resistance to initiate a rotating movement the arm
has. An arm with low moment of inertia will react quickly to wraps and eccentricities, while
a high moment of inertia will make the arm more sluggish and deflect the cartridge
suspension more.
The laws of physics dictate that, due to the loads an arm is subjected to, a shorter length
has a higher potential for rigidity and lower moment of inertia. Given an arm tube with a
certain length, diameter, cross-section and material, when the length is doubled the
bending and torsional stiffness will decrease to half. In the same example, the moment of
inertia will increase to 4 times the original one.
To bring the stiffness of the 12 inch arm tube to the same levels as the 9 inch version, one
must add material which will substantially increase the moment of inertia. Given a certain
maximum moment of inertia allowed as design specification, I can always design a 9 inch
version with much higher stiffness - every single time - no matter what kind of design the
arm tube has.
Vibration and resonance
Arm design is a technical subject and require the use of accurate technical terms in order
to reduce the risk for misinterpretations. Many are mixing the terms vibrations and
resonances to refer to two different phenomena, though they are related. All bodies
vibrate at their own natural frequencies and modes when excited, as well as their
harmonics (multiples of the fundamental frequency). A longer and less stiff body will start
vibrating from a lower frequency while a shorter and stiffer body will start vibrating at
higher frequencies.
An arm tube vibration is mainly caused by the loads generated on a cartridge suspension.
As this cannot be avoided, what matters is at what frequencies and, most importantly,
with what amplitude the vibrations occur. The higher the amplitude the more detrimental
the effect will be for reproduction accuracy.
Resonance occur when the frequency of the exciting load is the same as one of the
natural resonance frequencies. This is an undesirable condition as the amplitude of the
oscillations will be much higher than at other neighbouring frequencies. This will cause an
increase in distortion. The higher the fundamental resonance frequencies of the arm’s
components (headshell, arm tube, bearings, etc…), the lower the amplitud of the
vibrations and the less amount of harmonics will be within the audio frequency.
A very familiar example of change in natural frequency is the behaviour of a ruler hold
against the edge of a table; if we let 50cm of ruler overhang from the table and bend it, it
will start vibrating at a certain frequency when we release it. If we now let just 30cm of
ruler overhang from the table and do the same, it will vibrate at a clearly higher frequency
and with smaller amplitude. The shorter ruler is more rigid and therefore has a higher
natural frequency of vibration with less amplitude. Exactly the same principle applies for
an arm tube.
It is important to notice that, in the case of an arm tube, I am here referring to vibrations
with an extremely small amplitude that are deforming the tube at a microscopic level -
nothing to do with the macroscopic movements of the arm tube caused by warps and
eccentricities. That is a different phenomena.
I design the arm tubes of the SAT arms to be very rigid and have very low resonance
amplitude at as high a frequency as possible. The CF1-09 arm’s tube - the most rigid tube
in the SAT range - has its first and second natural resonance frequencies at 4030Hz and
9000Hz, respectively. In comparison, the CF1-12 tube’s natural frequencies are 2380Hz
and 5800Hz. Under the same loads, the longer tube will start vibrating at a lower
frequency and with higher amplitude.
 

silviajulieta

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CONTINUE:

Tracing error:
The next relevant subject is the tracing error and distortion related to it. With a properly
setup cartridge in a 9 inch arm, using the traditional alignments, the maximum angular
error and associated distortion are very small - typically under 1,5° and 1% distortion.
Increasing the length to 12 inch provides a 20-30% decrease in the error, which seems as
a big improvement in percentage. Nevertheless, as the original error is already very small,
even a 30% improvement will be a very small one in absolute terms.
Most of the owners of record players never check the mounting position of the stylus on
the cantilever viewed from below, and even less compensate for that. Suppliers of
cantilever assemblies usually specify a tolerance of a few degrees for the position of the
stylus on the cantilever, due to the manufacturing process - units within that tolerance are
considered good. For the end user, it is impossible to spot that without a microscope. This
deviation will induce a tracing error and distortion far greater than the improvement
brought by using a longer arm, negating the benefit of it - going from 9 inch to 12 inch
gives a typical maximum improvement in angular error of around 0,5°, compared to a
typical tolerance of stylus mounting position of ±2°. Furthermore, adjusting the position of
the cartridge to within 2° is a task most users are not able to perform.
The very small reduction in the absolute tracing error associated from going from a 9 inch
to a 12 inch arm is marginal compared to the much greater potential for improvement in
terms of rigidity and its associated distortions, in a properly designed 9 inch arm.
As opposed to the distortions generated by the angular error, which vary from 0% to 1-2%
in a very progressive and slow manner while the cartridge traces the arc from the outer
groove to the inner groove, the effects caused by the lack of rigidity of the arm are
constantly at play and are of a different nature. Therefore the benefits of a stiffer arm will
be noticeable and effective through the whole record, while the improved angular error of
a longer arm will be mainly noticeable in small portions at the end, the center and the
beginning of the record.
As physics hasn’t change since I developed the original SAT Pickup Arm, for a given
moment of inertia, the shorter arms provide in general a more accurate sound
reproduction - ""



At the end of the day, this thread is a discussion about this fine cartridge

Sory but no one can discuss cartridge performance quality levels with out discuss along it: TT, tonearm, loading and phonolinepreamp surrounded the cartridge, all these are slaves of the cartridge.


it is not a discussion about my system and what you imagine it sounds like.

Sorry to disturb you and I'm not imagine nothing on your system sound was you whom stated about your system sound when you said that both cartridges loading at 47K in way different tonearms where both are mounted in way different platforms you listen almost no differences and all these speaks about your room/system resolution overall performance and speaks about your analog audiophile experience level to detect or not some differences..

Anyway, as always I post trying to help trying to explain my takes but I can see that rigth now you are not very confortable with my posts here so this one will be the last. Thank's for your patience.

Regards and enjoy the MUSIC NOT DISTORTIONS.
 
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silviajulieta

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No offense but manufacturer's copy better fits in a SAT thread.

Dear friend: your post obligated me to return to give you an answer. Please let me explain why about the tonearm paste info:

the OP asked me: "" I also remember you telling me that you thought the SME V-12 is a completely different arm than the SME V. Do you still think that?

So I gave my answer but I never give an answer to any one with out a wide explanation and facts and when my ignorance levels on the question is to high I always say I have not the knowledge levels to give the answer.

I paste the SAT info because way before SAT I shared that main tonearm design characteristics when I started my own design but due that my english is not my native language and it's to bad and higher with technical words I prefered to do it that way.

Dear friends if you don't like my posts just don't ask me nothing or try don't post controversial or not true information because for me any audio forum is a place to learn and I think that any one of us must be willing to do it and each one audiophile has a responsability with the audio community to share his first hand experiences if he thinks can helps to some one/new comers/rokies and the like.

Day by day in Agon or here or any other audio forum I learn something, I confirm my takes and many times I take in count that I'm just wrong and I accepted because is our only way to grow-up to improve our day by day MUSIC listening sessions.

Regards and enjoy the MUSIC NOT DISTORTIONS.
 

jeff1225

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Raul has been talking about his tonearm for 10 years on Audiogon. They got tired of hearing about the so called arm (no pics ever posted) now he's moved the conversation here.
 

PeterA

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Raul, I appreciate you willingness to help and to learn. Most are here for those reasons. I only suggested that you move the tonearm discussion to the SME tonearm thread or to a new thread about your arm design, about which I was quite interested in learning all those years ago. Please consider doing that as to not dilute the discussion here about the vdH Grand Cru cartridge.
 

silviajulieta

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México city. rauliruegas@hotmail.com
now he's moved the conversation here.

Dear friend: that statement is not true and I don't know your reasons behinds it because was the OP whom brougth here when he asked me:

" How is that tonearm design of yours coming along? "

Something is weird down here because seems to me that always I have the " culprit " of everything and that's why almost all of you " blame " with your posts. Go figure ! !

Same happening with that gentleman ddk and several others . Why?

Regards and enjoy the MUSIC NOT DISTORTIONS.
 

Lagonda

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Feb 3, 2014
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Dear friend: that statement is not true and I don't know your reasons behinds it because was the OP whom brougth here when he asked me:

" How is that tonearm design of yours coming along? "

Something is weird down here because seems to me that always I have the " culprit " of everything and that's why almost all of you " blame " with your posts. Go figure ! !

Same happening with that gentleman ddk and several others . Why?

Regards and enjoy the MUSIC NOT DISTORTIONS.
Maybe because many of your very long posts seem to be very argumentative and lecturing sometimes directly aggressive against some of our longstanding valued industry experts like Atmasphere. This is not the Audiogon crowd :rolleyes: You seem to alway try to provoke people, and maybe your intentions are just lost in translation ;)
 
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