I bought and built a stock Crack soon after release. I added the Speedball when it came out. But other than that I never really tinkered with it. It always sounded good with my HD650s so I left well enough alone.
However, during my SR45 build my main system was down. So I was listening to headphones much more. And wouldn't you know it...the volume pot started acting up. So I thought to myself...why not replace it with an Alps. Then I thought, if I'm doing that I might as well rewire it. And I have a bunch of C-7Xs and Cree diodes because I'm experimenting with them in other power supply designs. And then I remembered that I had a box full of ridiculous Russian PIO caps. And I ended up with this.
The Seam: The result of occupying all of the available space in a Crack.
I stained the base fire engine red, sanded it back and then hand rubbed and polished 4 layers of tung oil. The inside of the case was then liberally excavated to provide enough room for the C-7X and Caps.
The top plate and TX cover are silver Rustoleum Hammer tone.
All of the hardware is brass.
The wiring is 20 AWG Lacquered Cloth Solid Core. Because its just so pretty.
The C-7X is mounted on 1/2" spacers from the original chassis ground hole to right next to the RCAs.
The cap mounts were modeled in Fusion and 3d Resin printed. They mount as a replacement for the TX isolation washers on one side and under the volume control and phono plug at the other. The clearance between the caps and the Speedball boards is tight.
Like all good Seams the caps sit a bit proud of the case bottom. So I modeled up some quick feet and resin printed them. They need some tweaking, but once I like them I'm going to cast them in AluBronze.
The silver caps are the last power supply filter cap @ ~60uf total. The red caps are the output caps again @ ~60uf total each pair.
I mounted the Cree diode PCB to an additional 1" standoff mounted to the TX side of the Octal socket.
And they sound great. Vocals seem more forward, clearer and pronounced. The background is noticeably quieter. And I'm not sure yet if the bass is extending deeper or if the deeper bass was there but is only now apparent against the darker background. But it is definitely handling deep bass better in some way and can now be turned up louder on tracks with deep bass before clipping. But those caps need some more burn in before making a final determination. All in...I would describe the difference as a moderate polishing of what was already very good as opposed to a sea change in sonics or presentation.
It was a fun build and I learned useful things to apply to my next build. Which started today.
Thank you all again.
Time to burn in those caps a bit.