acoustic chamber
I am not a sound engineer, nor do I have specific expertise in tuning a driver. My priority is to build with purpose and understanding, trusting that quality craftsmanship always leads to a quality result
Acoustic chamber
The diaphragm utilizes every available inch within the driver frame, and the large driver takes full advantage of the space within the ear cup diameter. Consequently, it would have been impossible to secure a pad while keeping it within the cup’s diameter without obstructing a significant 15% of the diaphragm, effectively wasting precious sound quality in a very literal sense. This was the primary reason I designed a 4mm rise to create a noticeable separation between the sound-producing surface and the pad. The result of this experiment is twofold: not only has it fully unleashed the potential of the driver, but it has also allowed me to create a reasonably sized acoustic chamber that significantly broadens the soundstage, enabling the various instruments to express themselves to their fullest potential
ventilation openings
The availability of a 4mm thickness allowed me to incorporate ventilation holes, facilitating appropriate airflow and the exchange of clean air within the acoustic chamber. This design advantage enables long listening sessions without straining our eardrums or causing our brains to plead for a break, as they simply won’t require one
freedom of choice
Alongside proper ventilation, there is an additional acoustic advantage: it further expands the soundstage and brings vocals to the forefront, albeit at the expense of a slight reduction in bass response. However, any loss of detail is compensated by an even more pronounced separation of the instruments
adjustment possibilities
Nothing is predetermined. A knob positioned just behind the pad allows for customizable adjustment of the ventilation openings, enabling partial or full exposure, all the way to complete closure. Personally, I have found that opening only the first ventilation hole serves me well, but any adjustment is not only possible but advisable for extended listening sessions
easily interchangeable pad
I experimented with various pads and ultimately settled on what I thought was the best option. To be honest, I chose the least unsatisfactory one. I believe the pad can be improved, and I have crafted some prototypes using acoustic material for the padding, which yielded results I found quite pleasing. Thus, I could and should have made the pads myself, but I simply don’t know how to sew, and I couldn’t find a tailor willing to create them to my specifications. In the small town where I live, even simple tasks can seem impossible. I will have the time and opportunity to enhance this final aspect of the headphones, which is why I opted for an extremely simple pad attachment mechanism, allowing for experimentation with different solutions
acoustic chamber
ventilation openings
freedom of choice
adjustment possibilities
In the first pair of headphones I created, I used a knob that, when tightened, allowed me to secure the vertical position of the ear cup. In this iteration, I aimed to improve upon that aspect by designing a system that employs a small metal piston located within the mounting plate of the headband. This system features a spherical end that, when pressed against a custom-machined notched pin, creates a closely spaced ‘click’ mechanism. A simple push on the pin or a deliberate pull of the cups is sufficient to select the click corresponding to the desired height, and once set, it remains fixed until further adjustment.
Designing a headband presents easily understandable challenges. It requires achieving the correct clamp on the temples by using the right curvature and material. Aluminum would not have performed this task adequately, and I also wanted the pressure on the temples to be adaptive, allowing the user to choose and adjust it based on the shape of their head. I dismissed carbon fiber from the start, as its lightweight nature wouldn’t allow for precise regulation of pressure on the temples. The final choice fell on 304 stainless steel, a material known for its ‘shape memory,’ which enables the user to precisely mold the headband to their needs. This type of steel is ideal for audiophiles because, once the perfect shape is achieved, it retains a certain flexibility, allowing the headphones to be easily worn while returning to the exact shape and providing the desired clamp. This requires the end user to manually and personally adjust the headband, but I see this not as a drawback, but rather as a virtue. Those who have used this headband swear it is one of the most comfortable and stable they’ve ever experienced, and their feedback leads me to believe that I’ve succeeded in providing both stability and comfort to headphones that are neither light nor easy to balance
Just like the clamp by headband, the band plays a crucial role in fully enjoying your music. It is responsible for distributing the considerable weight of the headphones. To ensure even weight distribution, I designed the band to be positioned at the ideal height, and to avoid limiting this choice, I created slots at the selected height where the band can be secured. Once again, I did not allow weight savings to dictate my approach, focusing solely on functionality to offer the utmost comfort. I crafted the band with a triple-layer design: the lower layer, which rests against the head, is made of genuine Alcantara—a prestigious Italian material renowned for its comfort against the skin, probably the best available. The upper layer is genuine leather, and the middle layer is memory foam. This combination approaches, and in some cases exceeds, 50 grams, nearly 10% of the total headphone weight. However, I have concluded that the benefits it provides in terms of comfort and refinement far outweigh this slight increase
I have a deep appreciation for beauty, but I don’t consider myself a capable designer. When I work on a project, I let the end goal guide me, allowing ideas to form along the way. In this case, however, I placed my complete trust in the aesthetic expertise of my friend Benny, who gave me the initial creative direction. Despite some deviations, where his taste clashed with functionality, I managed to preserve the original concept. The honeycomb grille and the exposed bolts were his ideas—both perfectly suited for the design. Leaving the bolts visible allowed me to develop the best possible solution for anchoring the driver. I needed precisely that type of bolting to keep the cup’s size within acceptable limits; I feared exceeding 120 mm in diameter but managed to contain it within 105 mm at the smaller end and 113 mm at the larger.While the original design sketched circular ear cups, the project’s evolution demanded oval ones, which we didn’t want. I compromised by subtly ovalizing the circle just enough to serve the design’s effectiveness. The result was fully approved by my friends who supported me, and I take this opportunity to thank Benny, Valentino, Mauro, and Achille for their financial contributions that lowered the production cost. My great reward lies in delivering them a high-end headphone, capable of competing with top-tier models, at actual production cost. As I write, it remains just a hope; we’ve only tested the sound in rough prototype versions made of resin, with temporary driver anchoring. I’ll update this section in a few weeks when the finished product is in hand.Returning to the design, we spent entire days discussing and evaluating the functionality and aesthetics of the joint plate between the gimbal and the headband. We eventually found harmony, aligning the external bulk with the ear cup’s thickness, while curving the lower part to blend with the gimbal’s curvature. It took weeks to position the audio jack at a 40-degree angle so that when resting the headphones on a stand, the cable—if left attached—wouldn’t bend awkwardly at the base. There was simply no space inside the cup, and placing it outside would have been unsightly, yet the 20 mm needed for the jack had to come from somewhere. How I managed to fit that 20 mm jack into just 6×6 mm of protruding scrollwork is hard to explain, but that challenge was overcome too, and the scrollwork is now beautifully integrated into the whole structure.
I have observed with curiosity the recent trend among audiophile headphone manufacturers to compete for the lightest possible design, and I must admit that my curiosity remains unsatisfied. I am merely a humble designer, not a scientist, and by nature, I adhere strictly to the boundaries imposed by physics and mechanics. I am not the one to challenge those laws. If I had intended to build a lightweight headphone, I would have chosen lightweight drivers. However, a 100mm driver can only be lightweight if it uses fewer, less powerful magnets—and compromising on magnet size or strength is not an option for me, as they are responsible for generating the sound.
My headphones are entirely handmade, designed, and crafted by me, although I outsource the machining of my designed components to specialized workshops, as I do not have a lathe or CNC mill at home. I utilize a 3D printer to create the hundreds of prototypes necessary to achieve the final result.