Cabillas, le aplaudo por su integridad. No solo hacia un bellisimo producto pero, al momento cuando todos nosotros estabamos zelosos for su destreza and maestria, usted indico que las resultas no eran de la calidad que buscaba. Muchos alardearian, especialmente en la luz de nuestra fascinacion y admiracion. Hay pocos en HeadFi quienes admitirian publicamente que el experimento no resultaba como se anticipaba. Usted tiene integridad. No abandone cuando esta tan cerca a la meta.
I agree with Cabillas that aluminum, by itself, may be beautiful but is problematic. Grado's most sought-after headphones are the PS1 and the HP1000, two aluminum headphones. What they fetch in the used market - $3,000 and $2,000 respectively - has created a chicken-and-egg paradox. Are they sought after because they're so great or are they presumed great because they're so sought after? Aluminum brings out details that are wonderful. Listening to it reminded me of the HD800 in speed (decay rate) and soundstage. But, and this is a big hairy but, a little aluminum goes a long, long way. This may be the reason Grado put a plastic ring smack dab into the middle of the SR325. He may have been trying to deal with an HF overdose. In fact, the SR325 has inspired a great divide between lovers and haters. At the very least, people looking to go "full aluminum" should keep in mind that Grado paired these with flats, and probably for good reason. My best experience with the "full aluminum" rings was with the bigger, thicker, ones and with pads pressed up against them rather than mounted on first-shell driver platform. Doing so kept the HF in check.
In this way, John Grado's greatest achievement may have been not only to move to wood (with the RS1) but to have come back to aluminum with a trick old Joe never tried. The HF2 and the PS1000 use a hybrid design to get the best of both worlds. And while that may sound like sonic mud, it isn't. Having tried the aluminum, I have to say that there's dazzle in the metal that I don't want to give up. But having heard what happens when you go "all in" with aluminum, I'm inclined to agree that aluminum alone is not the answer. It's wonderful fast and brings out excellent soundstage artifacts but you can have too much of a good thing. Tonewood - whether it's mahogany, rosewood, cocobolo, et cetera - brings out a dark texture that provides exquisite bass. By itself, the wood may leave you feeling that some of the top end is muted, which is one reason Grado has pushed the jumbo pads. But if you pair the wood and the aluminum you get both and you don't need flats or jumbos.
I savor what Cabillas will turn in for a hybrid design. His workmanship is impeccable and even if he gives the credit to professionals, somebody had to tell them what to create. His design is an inspiration and a reminder that this thread is good for the soul.