[mt877]

Here's the "Soldering for Earbuds 101 - A Practical Approach" pdf. I hope it's useful.

The pdf file is too big (93MB) to be hosted by head-fi, so I had to upload it to a file hosting site.

The document will be deleted in 60 days if there are no views.

Edit: So view it often to keep the link alive until I find the pdf a permanent home.

https://docdro.id/sWQ8fvg

Edit#2: "Soldering for Earbuds 101 - A Practical Approach" at google docs

Enjoy!

 

[samandhi]

From my cabling experiments, I honestly don't think impedance determines SQ, as long as it's not unreasonably high. I just happened to have made a cable with very low DC resistance and it's not that good. Number of cores is actually not too meaningful because 99% of the wires are litzed so it only means more plastic insulation skin when you get more cores or less conductor.

I am glad you are not insulted easily, because I will have to (respectfully) disagree with you here. I think you have it backwards on the percentage. It is more like 99% (maybe more like 90% nowadays) of portable cables are NOT in a litz configuration, unless it is advertised as such, and that NORMALLY will add more cost to a cable.

And number of cores does indeed matter because in most cases, cables are configured in such a way that you might have 4 cores with 128 strands each (non litz) as an example. But, since there is no "standard" you might have a 4 core cable with 320 strands, or something like that. Or you might have a 16 core cable with 64 strands... You just have to pay attention to the make of the cable.

As for impedance affecting SQ, again I would have to disagree. If not properly matched, you can suffer from signal loss or unwanted distortion. Having a very low resistance is not (as I mentioned earlier) always desirable, depending on the head gear you are using. The all BA set I was referring to earlier, actually came with a higher impedance cable on purpose from the manufacturer. It was matched to the IEMs so that they will sound as the makers intended. Changing the cable for more or less impedance colors them to something different than what was intended. This can be a good thing or a bad thing depending on your preferences, but they will not be accurate for their design either way.

Having said that, most makers don't actually take the time and effort to match cables with the head gear. They will either just throw something from the shelf on it or match it by aesthetics. This is normally where you find which manufacturers care more or less about their own product, or they are just contributing to the "flood" of head gear that is out there and are just looking to get in on the feeding frenzy of incoming monies.

Since it is nigh on impossible to do impedance matching on portable gear (like you would for a loud speaker system), it is normally best to get very low impedance output sources. Then you can either use a cable or buy an inline impedance adapter to get it where you want for that particular set. Most people don't do this and find the sound acceptable as is but this is, in part why you will also hear people talking about "synergy" on portable gear.

agree, when a cable is thick enough it's thick enough. However impedance, conductance and capacitany are all quite theoretical in music. Using transmission line theory to explain whether the signal is affected or euphonic is like using an oscilloscope to explain music IMO, assuming there is only one electron, passing through one single path at a time which is probably in territory of quantum electrodynamics and I have never touched. And since we can hear the differences swapping cables it can only mean the sound is affected and we will need a whole University degree to learn how we human percept sound and also noise as music. And considering these sre definitely not the only factors affecting the sound, I think it is best to not consider the theory behind but experiment with the cable components instead - plug, solder, wire and plugs again, some may even experiment with the braiding method thou I don't think it matters.

Keep in mind that impedance is the amalgamation of resistance, capacitance, and conductance (they are all related), and they are not at all theoretical where sound reproduction is concerned. Actually, the electrical circuit makeup is the MOST important factor where sound reproduction is concerned (this also included impedance of a circuit). Sound is simply the transmission of electrical currents to a device that can translate it into an acoustical reproduction. How accurate it is depends on many factors; not the least of which is impedance (how faithful the electrical currents are sent to the translator or in this case transducer). If the electrical current that is sent to the transducer is not accurate, then the sound will not be reproduced as accurately as it could have been if it were; whether that has a desirable effect or not is up to your ears though. It really is as simple as that.

I realize that there are many, many other factors here as well that could also affect this, but this is what the consummate "audiophile" will pay out the nose to get (that last 1%). It doesn't really take a college degree to understand how these things affect sound reproduction.

With a cable, the makeup of the cable, quality (or lack thereof) of the material used, impedance (remember this is consisting of resistance, conductance, and capacitance) does affect the sound you will perceive. You will have a change in sound with the switch of a cable because not all cables are alike; even of the same materials (i.e. SPC, or pure silver, or pure copper, etc...). Also, keep in mind that when we talk about a change in sound for a cable, it isn't measurable on a FR graph, it is more of a change of tone that gives the perception that the sound has changed. Like a pure copper will change the tone of upper treble and lower bass, giving the perception that the treble is tamed, and there is more bass, as one example.

The reason that this works this way, and ignoring the resistance and (potential) capacitance factor, is because all of the alloys used today have a different conductivity (remember this is also part of the impedance equation) rating. Copper is the least of the conductors, which acts a bit like a filter in its perceived sound reproduction. Silver is the best conductor, which is why it seems to sound tighter, clearer, etc... Silver plated copper is sort of an "in between" because you are using the best conductor mixed with the worst. This has been very popular for many years because it is a good balance between copper and silver, and is cheaper to make than pure alloys.

Graphene is actually the best conductor of them all, but the problem with this is that it cannot (to this point) be used by itself. Normally the maker will impregnate either copper or silver with graphene, which still makes it a better overall conductor than either alone. This is not to say that there aren't other types of graphene cables available. There is a headphone cable that actually impregnates Kevlar with graphene, but it is a VERY expensive process, and I am not sure that it works as well as it might using an actual "other" metal as the base instead.

Again, I hope I have not offended, but the intention was all to say that the bottom line here is: These aren't theories but are basic and fundamental electrical properties used for all music reproduction. Music reproduction (reproduction being the key word here) is more about electrical design than anything else; taking something stored in an analog or digital medium (i.e. record, CD, streaming service, etc...) and reproducing it in such a way that we can enjoy listening to the audible waves that it makes.

Impossible! I am uninsultable. Yes I do have a few DAPs with lower output impedance but I like the M15s more so I just use it instead. Honestly I usually just don't care about the number but just listen with my ears.

I am very glad to hear that... It is NEVER my intention to (at least purposefully) insult.

Whatever works for your ears is best for you, and no one can tell you anything different.

Here's the "Soldering for Earbuds 101 - A Practical Approach" pdf. I hope it's useful.

The pdf file is too big (93MB) to be hosted by head-fi, so I had to upload it to a file hosting site.

The document will be deleted in 60 days if there are no views.

https://docdro.id/sWQ8fvg

Enjoy!

Fantastic bro! Thanks for sharing this for all.

Maybe another way to store it might be to simply create a new (free) Google account, and store in on Drive, and just share it for all. After all, you get 5GB storage for free.

 

[Kyonnie]

I am glad you are not insulted easily, because I will have to (respectfully) disagree with you here. I think you have it backwards on the percentage. It is more like 99% (maybe more like 90% nowadays) of portable cables are NOT in a litz configuration, unless it is advertised as such, and that NORMALLY will add more cost to a cable.

And number of cores does indeed matter because in most cases, cables are configured in such a way that you might have 4 cores with 128 strands each (non litz) as an example. But, since there is no "standard" you might have a 4 core cable with 320 strands, or something like that. Or you might have a 16 core cable with 64 strands... You just have to pay attention to the make of the cable.

As for impedance affecting SQ, again I would have to disagree. If not properly matched, you can suffer from signal loss or unwanted distortion. Having a very low resistance is not (as I mentioned earlier) always desirable, depending on the head gear you are using. The all BA set I was referring to earlier, actually came with a higher impedance cable on purpose from the manufacturer. It was matched to the IEMs so that they will sound as the makers intended. Changing the cable for more or less impedance colors them to something different than what was intended. This can be a good thing or a bad thing depending on your preferences, but they will not be accurate for their design either way.

Having said that, most makers don't actually take the time and effort to match cables with the head gear. They will either just throw something from the shelf on it or match it by aesthetics. This is normally where you find which manufacturers care more or less about their own product, or they are just contributing to the "flood" of head gear that is out there and are just looking to get in on the feeding frenzy of incoming monies.

Since it is nigh on impossible to do impedance matching on portable gear (like you would for a loud speaker system), it is normally best to get very low impedance output sources. Then you can either use a cable or buy an inline impedance adapter to get it where you want for that particular set. Most people don't do this and find the sound acceptable as is but this is, in part why you will also hear people talking about "synergy" on portable gear.

Keep in mind that impedance is the amalgamation of resistance, capacitance, and conductance (they are all related), and they are not at all theoretical where sound reproduction is concerned. Actually, the electrical circuit makeup is the MOST important factor where sound reproduction is concerned (this also included impedance of a circuit). Sound is simply the transmission of electrical currents to a device that can translate it into an acoustical reproduction. How accurate it is depends on many factors; not the least of which is impedance (how faithful the electrical currents are sent to the translator or in this case transducer). If the electrical current that is sent to the transducer is not accurate, then the sound will not be reproduced as accurately as it could have been if it were; whether that has a desirable effect or not is up to your ears though. It really is as simple as that.

I realize that there are many, many other factors here as well that could also affect this, but this is what the consummate "audiophile" will pay out the nose to get (that last 1%). It doesn't really take a college degree to understand how these things affect sound reproduction.

With a cable, the makeup of the cable, quality (or lack thereof) of the material used, impedance (remember this is consisting of resistance, conductance, and capacitance) does affect the sound you will perceive. You will have a change in sound with the switch of a cable because not all cables are alike; even of the same materials (i.e. SPC, or pure silver, or pure copper, etc...). Also, keep in mind that when we talk about a change in sound for a cable, it isn't measurable on a FR graph, it is more of a change of tone that gives the perception that the sound has changed. Like a pure copper will change the tone of upper treble and lower bass, giving the perception that the treble is tamed, and there is more bass, as one example.

The reason that this works this way, and ignoring the resistance and (potential) capacitance factor, is because all of the alloys used today have a different conductivity (remember this is also part of the impedance equation) rating. Copper is the least of the conductors, which acts a bit like a filter in its perceived sound reproduction. Silver is the best conductor, which is why it seems to sound tighter, clearer, etc... Silver plated copper is sort of an "in between" because you are using the best conductor mixed with the worst. This has been very popular for many years because it is a good balance between copper and silver, and is cheaper to make than pure alloys.

Graphene is actually the best conductor of them all, but the problem with this is that it cannot (to this point) be used by itself. Normally the maker will impregnate either copper or silver with graphene, which still makes it a better overall conductor than either alone. This is not to say that there aren't other types of graphene cables available. There is a headphone cable that actually impregnates Kevlar with graphene, but it is a VERY expensive process, and I am not sure that it works as well as it might using an actual "other" metal as the base instead.

Again, I hope I have not offended, but the intention was all to say that the bottom line here is: These aren't theories but are basic and fundamental electrical properties used for all music reproduction. Music reproduction (reproduction being the key word here) is more about electrical design than anything else; taking something stored in an analog or digital medium (i.e. record, CD, streaming service, etc...) and reproducing it in such a way that we can enjoy listening to the audible waves that it makes.

I am very glad to hear that... It is NEVER my intention to (at least purposefully) insult.

Whatever works for your ears is best for you, and no one can tell you anything different.

It took me awhile to finish reading because I'm trying to truly understand it. As always, I appreciate your guidance; it really helps me understand the minute details of this hobby.

Here's the "Soldering for Earbuds 101 - A Practical Approach" pdf. I hope it's useful.

The pdf file is too big (93MB) to be hosted by head-fi, so I had to upload it to a file hosting site.

The document will be deleted in 60 days if there are no views.

https://docdro.id/sWQ8fvg

Enjoy!

Thank you for your effort! This will be very useful to alot of people in here who is curious diving into the DIY earbuds rabbit hole.

Fantastic bro! Thanks for sharing this for all.

Maybe another way to store it might be to simply create a new (free) Google account, and store in on Drive, and just share it for all. After all, you get 5GB storage for free.

Idk if it's just me but it takes a while to load for me and I agree Google Drive is more accessible and reliable.

 

[anli]

RS6 is 0.4 (SE) and 0.8 (balanced) I should take it out from my drawer then.

To my taste these numbers are great for portable source. Balanced output usually more matters for buds with higher impedance.

Thanks for the insights. Oh wait you mean damping factor, right? The RW3000 is advertised as easily driven even with a mobile phone but it's not actually as forgiving as other higher impedance buds then, maybe?

Yes, my English has failed me. Of course I mean "dAmping factor" rather "dUmping factor". Sorry, I have edited my posts.

I also have found RW-3000 to be demanding low source impedance. But as for "easy driving" - I don't see any direct relation with demanding Zout. I guess it is about buds sensitivity,

 

[samandhi]

It took me awhile to finish reading because I'm trying to truly understand it. As always, I appreciate your guidance; it really helps me understand the minute details of this hobby.

Thank you for your kind words. I apologize for making it so long, but sometimes you just have to explain what you just explained, if you know what I mean?! haha

Thank you for your effort! This will be very useful to alot of people in here who is curious diving into the DIY earbuds rabbit hole.

^ +1

I also have found RW-3000 to be demanding low source impedance. But as for "easy driving" - I don't see any direct relation with demanding Zout. I guess it is about buds sensitivity,

This is very true. Because the RW3000 are only 16ohms impedance with a really sensitive 113dB/mW, they require a very low output impedance (summed with the cable impedance) for the FR curve to not be skewed.

This isn't to say that others might find them to sound better to their ears with a higher impedance (thereby skewing the curve). But... for the intended sound anyhow, the source impedance needs to be very low.

 

[Kenyon]

These aren't theories but are basic and fundamental electrical properties used for all music reproduction.

Whilst I have respect for your standing in the earbud forum and have no desire to argue - I am not sure making such a definitive statement of 'fact' is helpful as many people in this forum as well as audio & materials based science itself would disagree with a large portion of what you have just written regarding cable material makeup/quality and its effects. Maybe worth checking in with @PhonoPhi regarding this as he is the OG of debunking cable material properties.

Regarding the role of impedance - you are spot on - it plays an important role but I am not sure the cable should be the focus here as having high impedance cables is extremely rare in headphone based audio and if encountered it is usually as it has been utilised/created with the intention of having an effect. The device OI, as you stated, is the place to pay attention.

It is overall important to note the strength of psycho acoustic effects here - the brain plays a powerful role in aligning our thoughts and internal standards with our perceptions.

Nothing wrong with being a cable believer - more power to you to spend your own money - but...

It doesn't really take a college degree to understand how these things affect sound reproduction.

It doesn't help with enjoyment or experience of audio but it does help with having a basis in the technical reality behind audio reproduction - so that we are not ranking our own subjective beliefs or home experiments over decades/centuries of years of 'objective' peer reviewed research. And more importantly so that we have the hubris to not propogate such experiences as fact to others who are curious as to the technical details of this hobby.

 

[anli]

It is overall important to note the strength of psycho acoustic effects here - the brain plays a powerful role in aligning our thoughts and internal standards with our perceptions.

Agree, those unlucky who were participants in this or that kind of blind testing lack this mystic cable world charm (and I'm among those unlucky). So, affected by ABX are just limited with charm of music itself.

 

[samandhi]

Whilst I have respect for your standing in the earbud forum and have no desire to argue - I am not sure making such a definitive statement of 'fact' is helpful as many people in this forum as well as audio & materials based science itself would disagree with a large portion of what you have just written regarding cable material makeup/quality and its effects. Maybe worth checking in with @PhonoPhi regarding this as he is the OG of debunking cable material properties.

This is a topic that has raged on for a very long time, and I respect what others have had to say on the subject either way. I also never "discourage" others from researching information on this topic to form their own beliefs, because there is good information on both sides of this camp (there are always two sides to a coin).

I am (and never have been) one who will argue one way or the other vehemently. I will present my knowledge on the subject, and let others decide whether this is a fact that many say it is, or not a fact that many others say it is not.

Regarding the role of impedance - you are spot on - it plays an important role but I am not sure the cable should be the focus here as having high impedance cables is extremely rare in headphone based audio and if encountered it is usually as it has been utilised/created with the intention of having an effect. The device OI, as you stated, is the place to pay attention.

You are not wrong, but it IS indeed a part of the equation, and when you get to the point (on portable systems, and contemporary earbuds and IEMs) that we are at with a chain, any small differences can/will (potentially) affect the sound. The fact that it was mentioned by me was simply offering a bit more completion to the equation, for those that may not already know.

It doesn't help with enjoyment or experience of audio but it does help with having a basis in the technical reality behind audio reproduction - so that we are not ranking our own subjective beliefs or home experiments over decades/centuries of years of 'objective' peer reviewed research. And more importantly so that we have the hubris to not propogate such experiences as fact to others who are curious as to the technical details of this hobby.

I know a lot of electricians/electronics personnel that don't have a college degree that might offer information to the contrary. Because what I offered didn't cover anywhere near the whole picture of sound properties or engineering, but instead, simple electrical knowledge, which was actually my point, that you didn't need a college degree to understand basic fundamentals of electrical properties where impedance affecting sound reproduction is concerned. While I think we might be arguing semantics about this, having a college degree on this whole subject would mean that there is no real reason to ask questions about it anyhow.

I am sure it wasn't your goal to sound accusatory or insulting, but I wasn't aware that I needed to offer my credentials on the subject in order to help others with the importance of the subject. If I read that wrong, then many apologies to you.

 

[gylyf]

Here's the "Soldering for Earbuds 101 - A Practical Approach" pdf. I hope it's useful.

The pdf file is too big (93MB) to be hosted by head-fi, so I had to upload it to a file hosting site.

The document will be deleted in 60 days if there are no views.

https://docdro.id/sWQ8fvg

Enjoy!

Downloaded (and very much appreciated)!

 

[lordearl]

Downloaded (and very much appreciated)!

Agree - what a fantastic document!!

 

[saldsald]

I am glad you are not insulted easily, because I will have to (respectfully) disagree with you here. I think you have it backwards on the percentage. It is more like 99% (maybe more like 90% nowadays) of portable cables are NOT in a litz configuration, unless it is advertised as such, and that NORMALLY will add more cost to a cable.

If you are talking about IEM/bud cables, especially those made in China or the wires manufactured in China, then, it's not true. I am not sure how many cables / wires you have purchased and cut them open or DIYed, I can tell you that about 100% of the Chinese aftermarket wires are litz. You probably have overestimated the cost in coating a wire (litz). I am saying this not based on any assumptions but based on my experience with around 100 cables that I have experimented with/changed plugs/resoldered/cut open, and 99% of them're litz wires. Also I have a habit of asking the manufacturers such as XINHS (and they have sent me a few cables to test out) a lot of questions or simply just chit chat with them and what they told me was that unless they're specified as a non-litz cable, they're all made of litz wires. The only non-litz cable that I have and DIYed is the Cardas Clear Light aka. PWAudio 1960s. Also all Effect Audio cables that I own are litzed wires. I assume a lot of old school Western wire makers, especially those specialize in making speaker cables may make a lower ratio of litz wires.

And number of cores does indeed matter because in most cases, cables are configured in such a way that you might have 4 cores with 128 strands each (non litz) as an example. But, since there is no "standard" you might have a 4 core cable with 320 strands, or something like that. Or you might have a 16 core cable with 64 strands... You just have to pay attention to the make of the cable.

This is not what I am talking about actually. You are comparing two differnt structures so of coz they are different. If you have say 50 x 0.08 wires per wire in a 4 wire config and then you have a 25 x 0.08 wires per wire in a 8 wire config then, as long as they are all litz, they should be ALMOST the same. However, the skin material actually also affect the damping of the vibration of the signal and having different core dia. may actually affect the sound. For example, I have the Effect Audio Eros S and the Eros S 1st Anniversary Edition, same wires but different skin material, same plugs and they do sound different, because of the skin material/thickness.

As for impedance affecting SQ, again I would have to disagree. If not properly matched, you can suffer from signal loss or unwanted distortion. Having a very low resistance is not (as I mentioned earlier) always desirable, depending on the head gear you are using. The all BA set I was referring to earlier, actually came with a higher impedance cable on purpose from the manufacturer. It was matched to the IEMs so that they will sound as the makers intended. Changing the cable for more or less impedance colors them to something different than what was intended. This can be a good thing or a bad thing depending on your preferences, but they will not be accurate for their design either way.

Having said that, most makers don't actually take the time and effort to match cables with the head gear. They will either just throw something from the shelf on it or match it by aesthetics. This is normally where you find which manufacturers care more or less about their own product, or they are just contributing to the "flood" of head gear that is out there and are just looking to get in on the feeding frenzy of incoming monies.

Since it is nigh on impossible to do impedance matching on portable gear (like you would for a loud speaker system), it is normally best to get very low impedance output sources. Then you can either use a cable or buy an inline impedance adapter to get it where you want for that particular set. Most people don't do this and find the sound acceptable as is but this is, in part why you will also hear people talking about "synergy" on portable gear.

Keep in mind that impedance is the amalgamation of resistance, capacitance, and conductance (they are all related), and they are not at all theoretical where sound reproduction is concerned. Actually, the electrical circuit makeup is the MOST important factor where sound reproduction is concerned (this also included impedance of a circuit). Sound is simply the transmission of electrical currents to a device that can translate it into an acoustical reproduction. How accurate it is depends on many factors; not the least of which is impedance (how faithful the electrical currents are sent to the translator or in this case transducer). If the electrical current that is sent to the transducer is not accurate, then the sound will not be reproduced as accurately as it could have been if it were; whether that has a desirable effect or not is up to your ears though. It really is as simple as that.

I realize that there are many, many other factors here as well that could also affect this, but this is what the consummate "audiophile" will pay out the nose to get (that last 1%). It doesn't really take a college degree to understand how these things affect sound reproduction.

With a cable, the makeup of the cable, quality (or lack thereof) of the material used, impedance (remember this is consisting of resistance, conductance, and capacitance) does affect the sound you will perceive. You will have a change in sound with the switch of a cable because not all cables are alike; even of the same materials (i.e. SPC, or pure silver, or pure copper, etc...). Also, keep in mind that when we talk about a change in sound for a cable, it isn't measurable on a FR graph, it is more of a change of tone that gives the perception that the sound has changed. Like a pure copper will change the tone of upper treble and lower bass, giving the perception that the treble is tamed, and there is more bass, as one example.

The reason that this works this way, and ignoring the resistance and (potential) capacitance factor, is because all of the alloys used today have a different conductivity (remember this is also part of the impedance equation) rating. Copper is the least of the conductors, which acts a bit like a filter in its perceived sound reproduction. Silver is the best conductor, which is why it seems to sound tighter, clearer, etc... Silver plated copper is sort of an "in between" because you are using the best conductor mixed with the worst. This has been very popular for many years because it is a good balance between copper and silver, and is cheaper to make than pure alloys.

Graphene is actually the best conductor of them all, but the problem with this is that it cannot (to this point) be used by itself. Normally the maker will impregnate either copper or silver with graphene, which still makes it a better overall conductor than either alone. This is not to say that there aren't other types of graphene cables available. There is a headphone cable that actually impregnates Kevlar with graphene, but it is a VERY expensive process, and I am not sure that it works as well as it might using an actual "other" metal as the base instead.

Again, I hope I have not offended, but the intention was all to say that the bottom line here is: These aren't theories but are basic and fundamental electrical properties used for all music reproduction. Music reproduction (reproduction being the key word here) is more about electrical design than anything else; taking something stored in an analog or digital medium (i.e. record, CD, streaming service, etc...) and reproducing it in such a way that we can enjoy listening to the audible waves that it makes.

I have not a very good idea about impedance matching TBH so I will just pass. However about reproduction of music you have to accept it is not 100% about the accuracy. Cable changes sound, all buds and IEMS and headphones and speakers sound different. Which one is the most accurate? Some Yamaha studio monitors? Are they really good for enjoying music? Or actually are they really that accurate or just dry sounding? It is surely not entirely about reproducing the music to a point like you are sitting there live. Even if it is live music, which listening location sounds most accurate? Again, it's not entirely about the accuracy. You have been talking about the 'measurable' part here and I cannot disagree but this is not all IMO.

Anyway what I am trying to say here is while I am sure it affects the sound, there are also other dominating factors not considered, so sometimes it is easier to experiment than doing some calculations.

 

[saldsald]

To my taste these numbers are great for portable source. Balanced output usually more matters for buds with higher impedance.

Yes, my English has failed me. Of course I mean "dAmping factor" rather "dUmping factor". Sorry, I have edited my posts.

I also have found RW-3000 to be demanding low source impedance. But as for "easy driving" - I don't see any direct relation with demanding Zout. I guess it is about buds sensitivity,

I will let you know if the RS6 makes the RW3000 better sounding or not.

 

[fooltoque]

Here's the "Soldering for Earbuds 101 - A Practical Approach" pdf. I hope it's useful.

The pdf file is too big (93MB) to be hosted by head-fi, so I had to upload it to a file hosting site.

The document will be deleted in 60 days if there are no views.

https://docdro.id/sWQ8fvg

Enjoy!

Downloaded. This is awesome, thanks so much for putting this together! I'm getting excited (a few weeks until everything comes in and I can get to work on it though).

 

[fooltoque]

Maybe worth checking in with @PhonoPhi regarding this as he is the OG of debunking cable material properties.

I tried searching his posts, but can't find a good article on this. Can you suggest a thread?
I makes sense to me that cables would only make a noticeable difference for extreme cases (very low impedance headphones), but it's hard to convince myself with so many different opinions.

 

[saldsald]

Downloaded. This is awesome, thanks so much for putting this together! I'm getting excited (a few weeks until everything comes in and I can get to work on it though).

I may add a little 'trick' here. Instead of using some helping hand, it is easier to use blutack instead sometimes.