van den Hul Colibri Grand Cru
- Thread starter PeterA
- Start date
If I understand the RRRRR concept correctly, then at that level, sample to sample variation should be negligible. Nevertheless, shit happens from time to time, whether it be mechanical or electrical and it's out in the open. Also out in the open is VdH's long track record of making things right when these issues arise, so you sit back and realize that good things come to those who wait...
Hi Marty,
I never said that there are significant differences just that they're not identical but vdH master sigs have changed specs regularly over the last 2-3 years and I didn't like some of the interim cartridges that I received so I had those reworked too. They're also fragile so sometimes there could be shipping damage that I can catch before it goes out to someone. Because I ship overseas I check every cartridge before I send it out and vdH isn't the only cartridge with sample variances, other boutique brands' top cartridges have sample to sample variations too and they're not always all good, it's just the nature of things.
david
This is getting blown out of proportion, sample to sample variations exist in top cartridges of all boutique brands vdH isn't unique in that respect it's just the nature of things and variation doesn't mean bad either. vdH has a very well established network of distributors and dealers they can all send their customer's cartridges for service, never heard from anyone that they weren't taken care of.
Cartridges are tough business majority, more that 98% IME of the damage and bad sound is due to operator error, keep that in mind when complaining. vdH has one the best service policies in the industry that I've come across, Ortofon is the one. Try dealing with Japanese companies and some of their distributors for repairs, customer is always wrong!
david
"more that 98% IME of the damage and bad sound is due to operator error"
This^
I submit myself as exhibit A
I've probably generated a fair amount of noise as I've grappled with setup, to the observer this might appear like bad press for vdH.
It wasnt....it was bad press for gav
Edit: or less pejoratively, it was the sound of someone learning
This^
I submit myself as exhibit A
I've probably generated a fair amount of noise as I've grappled with setup, to the observer this might appear like bad press for vdH.
It wasnt....it was bad press for gav
Edit: or less pejoratively, it was the sound of someone learning
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The master at work , he sometimes does exhibition workshops in holland where he checks carts for little money .
It can be from any cart manufacturer it gets a good cleaning/ overall check .
You ll be amazed how much dirt a cart assembles over time , he had the scope projected on a big screen iirc so you could see what he was doing
If it needs a retip you get off course a vd Hul tip
It can be from any cart manufacturer it gets a good cleaning/ overall check .
You ll be amazed how much dirt a cart assembles over time , he had the scope projected on a big screen iirc so you could see what he was doing
If it needs a retip you get off course a vd Hul tip
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Gavin, we've all been there. I had a pro classical musician/part time audio reviewer over in London, and as I swung twds him to chat about my system, the side of my hand caught my Zu Denon 103, spinning the arm across the platter and destroying the cantilever.
I made us both some strong coffee...and played some CDs lol.
I made us both some strong coffee...and played some CDs lol.
I assume you have stopped setting VTA for every separate record Peter, have you set the different arms for thick and thin records ?
How many times did you have your Soundsmith system adjusted before you where happy Marc ?
See i am one of the few that reads almost all your threads Well Milan, I think you're referring to my brutal burn in of my analog 3 years ago. It's no secret, that was harsh. But it was purely running in the stylus and critically LPS to energiser, latter needing 80-120 hours real time signal run in to lock the sound, plus melding the dozen other changes I made at the same time.
The Straingauge never needed factory re adjust.
Now the LPS is fully burnt in, replacement Straingauge stylii will come on song around 50 hours, as they have in the past.
The Straingauge never needed factory re adjust.
Now the LPS is fully burnt in, replacement Straingauge stylii will come on song around 50 hours, as they have in the past.
That is the eventual plan, Lagonda. Right now I am having fun simply listening and trying to decide which combination I like more, and which might be more appropriate for standard original classical and jazz LPs and which might be better for 45s and reissues. Then again, it may not matter.
I no longer adjust VTA unless going from standard to 180/200g LPs, even though I do find that a difference of one card may matter depending on the pressing. Most of the standard thickness LPs all fall within a 1-3 card variation of settings, so I don't really bother adjusting. The 3012R is actually easier and faster to adjust because it is one allen wrench and no pressure-lock mechanism, so quite easy to go up or down by a card or two.
Hi Peter A,
Info about the Colibri XGW Grand Cru are rare, so I'm happy to read these messages.
I've got my Grand Cru yesterday, it's still in its box. Like a good bottle of excellent red wine: you take your time.
In meantime I'll envoy my Lyra Skala with a van den Hul retip.
My question is: which is the best match as a tonearm? On the wooden box it says tonearm mass 14g, and the mass of my Clearaudio Unify is 8,5g, so probably not the best match. I like the look of the SME 309, IV and V: would they be a good match?
Also, what is in your experience with the best impedance load?
Thanks in advance,
Dan
Info about the Colibri XGW Grand Cru are rare, so I'm happy to read these messages.
I've got my Grand Cru yesterday, it's still in its box. Like a good bottle of excellent red wine: you take your time.
In meantime I'll envoy my Lyra Skala with a van den Hul retip.
My question is: which is the best match as a tonearm? On the wooden box it says tonearm mass 14g, and the mass of my Clearaudio Unify is 8,5g, so probably not the best match. I like the look of the SME 309, IV and V: would they be a good match?
Also, what is in your experience with the best impedance load?
Thanks in advance,
Dan
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Congratulations on receiving your new Grand Cru, Dan. I suspect there are many good matches for this cartridge. I am having excellent results from both of my SME arms: V-12 and 3012R. Mr. van den Hul is very familiar with SME arms and I think uses one for listening tests. Did you specify your tonearm model when ordering your cartridge?
I am loading both of my Grand Cru cartridges, one on each arm, at 47K ohm with my Pass Labs SS phono stage. 500 and 1000 sound fine, but a little bit closed in. I suggest listening for best results.
DDK is the resident vdH cartridge expert and more qualified to answer your questions. Enjoy your new cartridge and let us know what you think. Mine sounded great brand new, but they do improve over time.
Thanks Peter.
I have in my boxes still a 3009 SII improved (with a new "bearring" made from metal and a brass plate). I read once that the improved stands for lighter, so not going into the right direction.
I also have a Michell Tecnoarm, which ils also lighter than the orignal RB250 on which it's based. I could try them but then I would need the order a base to fit on my turntable.
Unfortunately I can't fit a 12" arm on my turntable (which is a nice piece for it's price), so I wrote to A.J. (whom I know personally) and asked him advice.
When I got results, and find the arm of my dreams, I'll post the results here.
Cheers,
Dan
Eventually able to listen to a Colibri Gran Cru yesterday.
Micro Seiki SX8000 & Phantom 2 Supreme.
Newly installed but great potential!
But my friend is still looking for a SUT suitable to pair with his Kondo phono.
Micro Seiki SX8000 & Phantom 2 Supreme.
Newly installed but great potential!
But my friend is still looking for a SUT suitable to pair with his Kondo phono.
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Does he not like the Kondo SUT.?
I thought it was highly regarded
On my own progress, I've been employing the card trick, to great satisfaction.
Having a reliable method of making incremental changes has truly been a turning point- I no longer feel as though I'm fighting with the arm, or risking losing precious gains by making further adjustments.
I had a friend 'round for my 50th t'other night, and he would confirm we seem to have nailed the dynamics and bass extension. Ok, big understatement there...
I'm just trying to add the lush midrange, which has felt a tad recessed, but this may just be a case of more hours needed.
It's been a strange feeling, having a flawless presentation, but continuing to make adjustments seeking perfection. Normally i would step away for fear of cocking it up once I'd solved a particular issue, but having a method that 'saves' my progress is brilliant, so thank you all for that
I thought it was highly regarded
On my own progress, I've been employing the card trick, to great satisfaction.
Having a reliable method of making incremental changes has truly been a turning point- I no longer feel as though I'm fighting with the arm, or risking losing precious gains by making further adjustments.
I had a friend 'round for my 50th t'other night, and he would confirm we seem to have nailed the dynamics and bass extension. Ok, big understatement there...
I'm just trying to add the lush midrange, which has felt a tad recessed, but this may just be a case of more hours needed.
It's been a strange feeling, having a flawless presentation, but continuing to make adjustments seeking perfection. Normally i would step away for fear of cocking it up once I'd solved a particular issue, but having a method that 'saves' my progress is brilliant, so thank you all for that
Infinitely Baffled, it sounds like progress, though a bit strange if you indeed have a "flawless" presentation and you are still seeking perfection. You may be betwixt and between.
Once I was satisfied with the cartridge set up, I continued with very fine speaker adjustments to get the right balance between highs, mids, and bass. In my case it had to do with room interaction and I ended up moving my speakers slightly closer toward each other. Then power cords to amps improved the mid bass to lower midrange frequencies. I find it is a balance of many factors, not just the cartridge set up. Everything interacts with everything else.
Congratulations on your Grand Cru.
Has anyone compared directly a Grand Cru (or any recent Colibri) on a Graham Phantom Elite versus on an SME 3012R?
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