Calling all VDH Colibri Fanatics and Experts ...

Dear @sbank : """  overall it's very dynamic with an extended treble performance that it rare and exceptional in its price category.  """

Agree and I would like to add that the Colibri quality level " treble performance " is just second to none, at any price. Overall a great cartridge.

"""  it might not gloss over imperfections in LPs as well as other carts I've used,  """

as always that could be system dependent specially how good damped is the tonearm and the tonearm stability during playback.

Anyway, I love the Colibri.

Regards and enjoy the music,
R.

@rauliruegas Thanks for that. Perhaps I'll experiment with a slightly higher level of damping fluid in the arm's trough. Cheers,
Spencer

Could you guys shed some light on your ways to set SRA at 92 with Colibri? I've got XGW version (wood) and find it hard to get that sweet spot with mine. 

In past years, some of my VDH Colibri's have demonstrated different characteristics, which makes sense due to the many different iterations of the cartridges.  The latest SPED.2 Colibri Grenadille Blackwood XGW in my system is a true standout and stands head to head with my Lyra Atlas, the main difference being the Atlas offers quieter tracking with tighter bass on classical recordings, especially those larger works having below 30Hz low frequency information.  I typically prefer the Colibri Blackwood cartridge to my Allaerts MC1B and Lyra Atlas. 

Somehow, the Colibri manages to be fast, dynamic and resolving but still retains an instruments tonal and timbre structure whereas the Atlas remains more neutral, clean and clear, even dry at times.

Forget about regular SRA settings with the Colibri, as each one is a little different, most of mine are riding a little low at the tail if examined by eye.  Patience is key and listen carefully every step of the way.

Thanks. On my XGW I tried to measure SRA with DinoLite USB microscope but I am not sure what line I should take. Some say that the flat cut line which is at the back of the stylus should be taken but I am not sure about it. It is hard given the stylus shape to find the right line. And this is critical as you get different results. So I am trying to set the angle just going with my tonearm up and down and let my ears to be the judge. This is quite a process. With my Audio Origami PU7 tonearm you need to raise the tonearm by hand so to know where I am I am using the ruler and magnifying glass measuring each time where exactly the tonearm is. I move each time by 1mm then align the cart with Dr Feickert protractor (Baerwald), check if VTF didn't change and then use Adjust+ for azimuth. Then I rip specific piece of music and have a listen and compare with the same piece ripped at different arm position. At 1mm above the level I noticed quite a change with the surface noise being more visible and the sound getting more dynamic and better soundstage. Then I moved up another 1mm and noticed that drums became more apparent but the other instruments went away slightly. Clear imbalance. That was I sensed moving away from the best sound so I went down with my tonearm by 0.5mm. The sound became overall better but some elements like cymbals work, bass sound when comparing the rips were telling me that it was better at 1mm above the level. So I got it down by 0.25mm and that was it. All elements in the right place, the best sounding cymbals, guitars suddenly became more apparent with dynamics being really there. This way I ended up with the tonearm being 1.25mm above the level having at this level sound quality the best to my ears. Adjust+ shows me the crosstalk in both channels at the same level of 33.8 and phase at 156/166 level respectively. So with the phase it is not truly ideal but close. Some say that the SRA optimum setting as seen in Adjust+ is reached when crosstalk and phase in both channels match perfectly so probably I will have to lower the arm very very slightly maybe 0.10mm to get really perfect level