I for one would like to see a summer meet happen if possible, probably best if we could "try" to work around everyone's summer schedules when doing so, as many tend to leave town or attend other events, etc. and it would be great if everyone who wants to attend is able to.
Yeah, I'm actually really surprised my Beyers are still holding up from all the abuse they have taken lately too!
Went through around 250 iterations of different material mods on them and now I'm finally liking where they are in general. Yes, they are quite boomy at times, track specific, and while I can handle the boom completely, adding additional materials to the inside of the bass ports, doing so seems to always take a little too much life away from everything else. Really a balance at this point... but they are my "fun" cans, so I kind of like the extra boom and deep impact (really great with certain types of music that you want to "feel"). I'm also a bit of a bass-head anyways and they are my "bass" cans for sure! Anyway, I could go on and on about my experiences with materials, but in my honest opinion, after going through so much small tweaking, testing, and then more small tweaking, repeated, etc., using more natural materials that are thin and porous, as opposed to synthetic materials that are thick and/or dense has really made the difference.
First I went through a ton of different types of foams, all kinds, acoustic to common varieties, thick, thin, dense, spongy, etc. What I learned is that while foam is a great dampener when absorbing, reflecting, and filtering, it is almost too great many times. What I mean is that it always seemed to have a much wider range of affect, not pinpoint or precise as I needed, so in the end I've completely written off synthetic foam for use in dampening and have already removed it from my other cans completely with great results. I think foam is just an easy and quick solution, but it is very hard to gauge the wide range of absorption as well as the natural resonance, etc. of it. Same thing with synthetic polyester types of materials, just weird range of affects in general, mostly making things too dark often. Good point to make is that while cotton and paper products where very effective, they really tended to suck the highs out and part of the mids away just too much if they were really billowy, think of cotton balls or paper towels, making this negative even more dramatic and unwanted.
So, in the end I've used non-latex sports bandage material, 100% bamboo bed sheets (cotton ones were not great), and various types of tightly woven yet very open cotton linen, including sling material from a first aid kit even. The real eyeopener was actually the sports bandage material. It is the really sticky self-adhering type, so it "clings" to the driver cage really well and from what I can tell, it absorbs the vibrations of the cage and then vibrates them out off many more nodes than previously, creating much better dispersion, opening up the mids and expanding the soundstage quite a bit, while also increasing the bass impact. Also, the bamboo sheet really takes the glare out of the highs without recessing them and making them too dark, in which I have found no other material that has done such a great job as of yet. Also, Dynamat was a lifesaver! The wood of the cups on my pair resonate at a low frequency, from what I could tell around the lower notes of a cello in general. So, they really want to ring out, which just screws up the mids and bass, encroaching upon a wide area of the spectrum, so Dynamat was key. Also, while placement of the Dynamat did matter, more affect on corners where nodes could form, the amount used was very critical... really a balance that was hard to get to as the other dampening/filtering materials would also affect the ring out, etc., and thus the amount of Dynamat needed.
All in all, it was a very interesting, yet time consuming and sometimes very frustrating venture!