Grado modders go Magnum
Dec 13, 2015 at 8:56 PM Post #3,826 of 4,994
Regarding wiring the cables to your drivers...
 
I just finished the first pair of V6's last night and sorted out the wiring after verifying with a few google searches.
 
The 3.5 mm or 1/4" stereo TRS connectors are so name because they reference the Tip-Ring-Sleeve construction of the connector.
 
(Even if you bought a cable from someone else you should be able to unscrew the outer cover and slide it toward the cable to look at the inside where the wires are soldered to see which color wires correspond to each part of the connector).
 
Looking at your connector with the tip of the outer portion pointing to the left...
 
The Tip of the connector corresponds to the center-most connector lug on the inner part of the disassembled connector. Whatever color wire is connected to this lug will be soldered to the Left Positive + on the V6 driver circuit board terminal, which is marked with a small red dot
 
The Ring or band adjacent to the tip corresponds to the other connector lug in the center of the jack (but not the centermost lug). Whatever color wire is connected to this lug will be soldered to the Right Positive + on the V6 driver circuit board terminal, which is marked with a small red dot.
 
The longer outer Sleeve is next and corresponds to the longest lug in the inner part of the jack.  Both of the other two wires used for the Ground or Negative will be connected here, and share this ground point; therefore, it doesn't matter which of these two conductors you use for the negative connection at the driver end. 
 
Hope this is helpful.
 
Dec 13, 2015 at 9:09 PM Post #3,827 of 4,994
  ...even wired backwards i really don't notice any audible phasing issues,i believe that's because i wired both drivers backwards.if  only one driver were wired improperly and the other properly i'm sure there would be an audible difference, nonetheless I am going to remedy that issue either today or tomorrow.... 

 
Since the audio signal is A/C, if polarity on both sides are reversed you will probably not hear much difference.  If only one side is reversed, then the left and right will be out of phase with each other, and you may discern some issues with less than optimal sound staging and imaging, or issues when the signal is panned from side to side.  This is because the brain compares differences in both amplitude and phase to determine location of the source of a sound, and is extremely sensitive to this phenomenon.
 
Dec 13, 2015 at 9:09 PM Post #3,828 of 4,994
He did say it was a beta program and the price would go up

I wish i had seen that.
 
regardless I should have realized as a beta program that everything is tentative.i was just a bit stunned because i'd been on the site around 7:30 this morning and was looking at all the different options and then i went back what seemed only a few minutes later and was like 'wait...what just happened?' i feel even the current prices are more than fair and want it to succeed as well as i'm a fan of Rhydon's designs.Great work on your cups btw, really impressive!
 
Dec 13, 2015 at 11:15 PM Post #3,829 of 4,994
V6 initial impressions...
dt880smile.png

 
...brought the first set of V6 headphones on-line last night.  Since I would much rather listen to them again tonight than type here, I'll just offer a few quick comments...
 
...for reference these are the function-oriented lower-cost "Tactical Studio Monitor" version
ph34r.gif
, consisting of:
 
* V6 drivers - from the very first batch.
* Sony MDR-7506 headband from Trew Audio.
* Shapeways C6 cups, first drawing version without the cable mounting tab, in flat black Flexible and Strong material.
* DIY cable using Mogami cable and Amphenol 3.5 TRS connector, which have a flange that allows use with an iPhone case.
* L-Cush pad as recommended by Rhydon.
 
Construction Comments:
 
The mounting points on the C6 are sized perfectly sized for the Grado band gimbals, but the Sony's are very slightly larger, and don't fully fit into the recess on the C6 cup.  However, the end of the pins on the Sony mount are rounded or conical to fit okay, and there is enough tension that this is really a non-issue.
 
The matte finish of the C6 in Flexible and Strong material holds the pads in place very well.
 
Limited manual dexterity, patience, and presbyopia
blink.gif
in my case combined to make assembly of the cord a little less fun.  I am pleased with what I was able to do with the cord for a more function oriented cord, but I will likely order a cord with a more pleasing visual aesthetic for my other more custom wood V6's. (recommendations appreciated)
 
I used a 40-watt Weller iron for soldering, which works if you are quick and careful.  However I will use a 25 watt in the future, to give a little more margin for error and give less possibility for the driver or voice coil to be damaged.
 
Initial Listening Impressions:
 
Note, these impressions are without any burn-in.
 
I guess the best thing I can say about these is that what I intended to be a quick audition last night, turned into a three-hour tour through my audio library into the wee hours of the morning.
 
I've been fortunate enough to have been in and around many studios in Nashville through the years.  There is a very intimate, almost ethereal, even holographic life-like quality to music that is heard in the control room of a very good studio where the acoustics are carefully managed, and where the quality and headroom of the equipment is state-of-the art.  More than any headphone I have ever heard, the V6's provide this same listening experience. You are able to hear what the recording engineer or mastering engineer intended, as though you are actually in the studio with them.  This is most evident in the often startling realism, and also in the very distinct delineation between instruments and vocals.  Multi-layered vocals, and complex passages are easily resolved and much more enjoyable, with previously masked passages opened to bring new life and appreciation to familiar recordings.
 
Balance is the term that comes to mind in describing the V6's.  I did not detect either emphasis or reticence in any frequency range.  
 
The nuance in the music was evident at all volumes, from one click off of mute, to as loud as I could stand.  These are so clear that you will do well to set a volume, and then back off two or three clicks, since the normal distortion-related audio cues where headroom limits are reached that clue you that it may be a bit too loud are pretty much absent.  This acoustic headroom is aided by the V6's excellent efficiency which preserves amplifier headroom as well.
 
I have found that other headphones, while excellent, either imparted and acoustic signature of their own (which may be very enjoyable but not necessarily accurate to the original), or were accurate but to the point of being somewhat clinical in nature.  Or some either have an in-your face presence, or on the other extreme make you feel you are witnessing the performance as an observer from a slight distance.  For me, the V6's strike a great balance that at once provides realism, and makes you feel part of the event, while at the same time providing an accurate representation.  All elements and instruments of the recording are balanced.
 
I've often heard, and noticed myself, with some headphones that they could make bad recording very evident.  To a great extent last night with the V6's though, I often noticed that recordings I previously considered bad or harsh were often so clearly rendered and detailed by the V6's, that the passages were unpacked to reveal detail instead.  I was able to hear what he engineer intended, instead of a representation compromised by limitations of a particular equipment reproduction. What previously might have been heard as somewhat of a vague blend or sonic "texture",  were now distinctly defined passages, with vocals and/or instruments precisely placed.
 
Interesting, I noticed the weight of the bass to increase slightly, even during this short listening session as the driver began to break in. (For the record, I believe any mechanical device, whether an engine, or a ball glove, often benefits from mechanical break in.  The suspension of a headphone diaphragm would be no different.)   The bass is very natural, with no particular enclosure-related emphasis imparted at any frequency, even to the lowest limits, similar in nature to what is heard in the best dipole speakers. Midrange is exceptional.  Treble is extended, and I detected no unnatural sibilance. The extended response is very enjoyable as it allows the upper harmonics to fully develop, which brings realistic timbre with it.  I found myself able to clearly visualize the nature of the instruments themselves, such as even where on a cymbal the drumstick strikes, or whether the cymbal is rotating slightly after being struck. I could hear the depth, head resonance, and room resonance on a drum strike, the wood resonance the body of and acoustic guitar, for instance. But these characteristics don't draw attention to themselves but rather bring realism to the presentation in a natural way.
 
I guess the thing I noticed most about the V6's -unless I was consciously thinking about it-  was that I didn't notice them.  Rather, I noticed and was immersed in the music itself.
 
I'll provide a more detailed review later after significant break in, as well as comparison to wood based set I'll build next, and also other headphones for reference, as time allows.
 
But right now I'm going to relax and enjoy the V6's some more....
 
Dec 14, 2015 at 12:30 AM Post #3,830 of 4,994
  V6 initial impressions...
dt880smile.png

 
...brought the first set of V6 headphones on-line last night.  Since I would much rather listen to them again tonight than type here, I'll just offer a few quick comments...
 
...for reference these are the function-oriented lower-cost "Tactical Studio Monitor" version
ph34r.gif
, consisting of:
 
* V6 drivers - from the very first batch.
* Sony MDR-7506 headband from Trew Audio.
* Shapeways C6 cups, first drawing version without the cable mounting tab, in flat black Flexible and Strong material.
* DIY cable using Mogami cable and Amphenol 3.5 TRS connector, which have a flange that allows use with an iPhone case.
* L-Cush pad as recommended by Rhydon.
 
Construction Comments:
 
The mounting points on the C6 are sized perfectly sized for the Grado band gimbals, but the Sony's are very slightly larger, and don't fully fit into the recess on the C6 cup.  However, the end of the pins on the Sony mount are rounded or conical to fit okay, and there is enough tension that this is really a non-issue.
 
The matte finish of the C6 in Flexible and Strong material holds the pads in place very well.
 
Limited manual dexterity, patience, and presbyopia
blink.gif
in my case combined to make assembly of the cord a little less fun.  I am pleased with what I was able to do with the cord for a more function oriented cord, but I will likely order a cord with a more pleasing visual aesthetic for my other more custom wood V6's. (recommendations appreciated)
 
I used a 40-watt Weller iron for soldering, which works if you are quick and careful.  However I will use a 25 watt in the future, to give a little more margin for error and give less possibility for the driver or voice coil to be damaged.
 
Initial Listening Impressions:
 
Note, these impressions are without any burn-in.
 
I guess the best thing I can say about these is that what I intended to be a quick audition last night, turned into a three-hour tour through my audio library into the wee hours of the morning.
 
I've been fortunate enough to have been in and around many studios in Nashville through the years.  There is a very intimate, almost ethereal, even holographic life-like quality to music that is heard in the control room of a very good studio where the acoustics are carefully managed, and where the quality and headroom of the equipment is state-of-the art.  More than any headphone I have ever heard, the V6's provide this same listening experience. You are able to hear what the recording engineer or mastering engineer intended, as though you are actually in the studio with them.  This is most evident in the often startling realism, and also in the very distinct delineation between instruments and vocals.  Multi-layered vocals, and complex passages are easily resolved and much more enjoyable, with previously masked passages opened to bring new life and appreciation to familiar recordings.
 
Balance is the term that comes to mind in describing the V6's.  I did not detect either emphasis or reticence in any frequency range.  
 
The nuance in the music was evident at all volumes, from one click off of mute, to as loud as I could stand.  These are so clear that you will do well to set a volume, and then back off two or three clicks, since the normal distortion-related audio cues where headroom limits are reached that clue you that it may be a bit too loud are pretty much absent.  This acoustic headroom is aided by the V6's excellent efficiency which preserves amplifier headroom as well.
 
I have found that other headphones, while excellent, either imparted and acoustic signature of their own (which may be very enjoyable but not necessarily accurate to the original), or were accurate but to the point of being somewhat clinical in nature.  Or some either have an in-your face presence, or on the other extreme make you feel you are witnessing the performance as an observer from a slight distance.  For me, the V6's strike a great balance that at once provides realism, and makes you feel part of the event, while at the same time providing an accurate representation.  All elements and instruments of the recording are balanced.
 
I've often heard, and noticed myself, with some headphones that they could make bad recording very evident.  To a great extent last night with the V6's though, I often noticed that recordings I previously considered bad or harsh were often so clearly rendered and detailed by the V6's, that the passages were unpacked to reveal detail instead.  I was able to hear what he engineer intended, instead of a representation compromised by limitations of a particular equipment reproduction. What previously might have been heard as somewhat of a vague blend or sonic "texture",  were now distinctly defined passages, with vocals and/or instruments precisely placed.
 
Interesting, I noticed the weight of the bass to increase slightly, even during this short listening session as the driver began to break in. (For the record, I believe any mechanical device, whether an engine, or a ball glove, often benefits from mechanical break in.  The suspension of a headphone diaphragm would be no different.)   The bass is very natural, with no particular enclosure-related emphasis imparted at any frequency, even to the lowest limits, similar in nature to what is heard in the best dipole speakers. Midrange is exceptional.  Treble is extended, and I detected no unnatural sibilance. The extended response is very enjoyable as it allows the upper harmonics to fully develop, which brings realistic timbre with it.  I found myself able to clearly visualize the nature of the instruments themselves, such as even where on a cymbal the drumstick strikes, or whether the cymbal is rotating slightly after being struck. I could hear the depth, head resonance, and room resonance on a drum strike, the wood resonance the body of and acoustic guitar, for instance. But these characteristics don't draw attention to themselves but rather bring realism to the presentation in a natural way.
 
I guess the thing I noticed most about the V6's -unless I was consciously thinking about it-  was that I didn't notice them.  Rather, I noticed and was immersed in the music itself.
 
I'll provide a more detailed review later after significant break in, as well as comparison to wood based set I'll build next, and also other headphones for reference, as time allows.
 
But right now I'm going to relax and enjoy the V6's some more....

All that and no pictures?
 
Dec 14, 2015 at 1:26 AM Post #3,831 of 4,994
   
Great stuff....looks like you used the older file without the cable holder?

yeah he never released the newer version as a download
not as nice as the shapeways stuff they're using industrial stuff
but not too bad for a $399.00 printrbot play
haven't put a set of drivers in them yet
they should sound good
 
amazing  little toy now the challenge is to come up with some original designs
 
Dec 14, 2015 at 10:15 AM Post #3,833 of 4,994
  Damn. Changed cable on my V6 now one side isn't working :S Never had that happen before when soldering grado drivers, what could I have done?

:frowning2:
I assume you already ruled out the possibilities that the connections aren't properly soldered.
Or that you didn't burn out the copper cables.
Or the two polarities aren't touching each other.

Worst case scenario, the plate lifted and the voice coil was snapped. I've had this before with old grado drivers, the next time I soldered, I covered the soldering iron with more flux to prevent too much heat being transferred onto the plate.
 
Dec 14, 2015 at 8:19 PM Post #3,837 of 4,994
Just ordered a pair of six's the only ones I haven't heard are the X. But when Rhydon does something I will give it a try. I will need to get soldering iron out and practice before I roll them through my collection I am curious to see what the cups do to these. 
I have recently rediscovered the original grey V5's with the AK-Jr. Great synergy, detail on par with my JH 16's but more air/less bass, especially the DSD files Shelby Lynn's - A little loving sounds amazing...., DSD is the closest to 200g new vinyl I have heard in digital.
 
Dec 17, 2015 at 2:49 AM Post #3,838 of 4,994
have you guys ever found a grado stlye driver better than the sennhieser?  I just got a mint set of pink drivers that are just not doing it for me. May try and liberate them from plastic and make a set of tiger maple cups to see if they can be saved, but if not may just toss them or if there's a driver you found equal or more capable than the grey magnums?
 
hey fleas, did you ever try that angled cup? I may or may not give it a go on this set of cups...pondering if the extra challenge and time is worth it sonically. I seem to recall it was. Adds a couple hours time, as one needs to beef up about that outer quarter inch of lip material to accomodate the angle of the recess......
 
Dec 17, 2015 at 8:59 AM Post #3,839 of 4,994
  have you guys ever found a grado stlye driver better than the sennhieser?  I just got a mint set of pink drivers that are just not doing it for me. May try and liberate them from plastic and make a set of tiger maple cups to see if they can be saved, but if not may just toss them or if there's a driver you found equal or more capable than the grey magnums?
 
hey fleas, did you ever try that angled cup? I may or may not give it a go on this set of cups...pondering if the extra challenge and time is worth it sonically. I seem to recall it was. Adds a couple hours time, as one needs to beef up about that outer quarter inch of lip material to accomodate the angle of the recess......

 
@thelostMIDrange Explorations continue...
 
I did not try the angled cup unfortunately. Was talking to someone yesterday though, and we were discussing the use of a jam chuck on the lathe, with an angled piece of wood behind it, to create cones with an angled flat plane across their surface. I have a few things I need to get done first, but I want to explore using this method to make an angled driver seat...this will probably happen in the new year.
 
Dec 17, 2015 at 9:27 AM Post #3,840 of 4,994
Would an angled distancer accomplish the same result? Something like this
 
http://www.shapeways.com/product/4GK2SMFDD/spacer-for-alessandro-ms-1000-modification-ms-1?li=shop-results&optionId=43198577&rc=SearchResults
 
only asymmetrically angled, using the same pads etc that we do now?
 

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