Gryphon Antileon Evo
- Thread starter AJR
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GSOphile
Member
New TAS review by Robert Harley:
Gryphon Audio Designs Antileon EVO Stereo Power Amplifier - The Absolute Sound
Gryphon Audio Designs Antileon EVO Stereo Power Amplifier - The Absolute Sound
a.wayne
Active member
Confirmed ....! 
As no one tested SR Orange, I was forced to experiment on my own. I bought 2 fuses, for external sockets (those next to AC sockets).
In the cold (first 50 hours) the effect was even slightly disappointing. Worse differentiation of colors, shorter lowest bass, no positives (maybe the space is a bit more precise). I decided not to be discouraged by this beginning and give them 200-300 hours to reach the optimum. They currently have about 285 hours of run (I have a preamplifier hour meter so I can accurately determine how much time they are already playing). Today I did tests, what happens after returning to the factory fuses and how does the sound change when I put SR Orange in the opposite position (turn it 180 degrees).
So, by far the best (for me, in my system) Antileon Evo plays with the SR Orange, inserted in the position suggested by the manufacturer (as the SR Orange is directional). It's a bit worse for me to turn them 180 degrees. The worst case with factory fuses. The differences are generally aimed at increasing the palpability of the sound, its three-dimensionality, richness, and increasing the illusion of the presence of instruments. With the SR Orange inserted correctly (let's say this is position no. 1), the midrange and treble range, which are more selective, show more nuances hidden in the background. Due to this, and the filling / greater mass served by the fuse, the differentiation of colors is better. The differences between, for example, the side flute and the flute are clearer and do not come down only to the tone of the instrument, but to many other small flavors that acstically define these instruments.
The decay of bells - a combination of a stick hit and a bell response are completely different (more true) given by SR in position # 1 than in the other 2 variants. What I would say is a slight lowest bass shortening.
But the improvement of the rest of the aspects is so big that I don't hesitate to decide which partner to stay with. The SR in position # 1 is a very precise 3 dimensional scene made of 3 dimensional sounds. Plastic, with the body / filling, tangible, with rich colors and high selectivity and resolution increasing the realism of the event.
The SR in the inverted position (# 2) means that more air passes through the air, the lowest bass is slightly longer, but at the cost of less mass in the entire frequency range, a bit of lower resolution, and a smaller opening at the top.
Factory fuses are a sound devoid of any mass / filling (introduced by the SR), it has more air than with the SR, but the soundstage is also the least precise, the timbre is poorer and the treble softer. The illusion of tangibility, the presence of musicians much smaller. The length of the lowest bass decay similar to the SR in position # 2. This sound no longer draws you to the chair as with the SR in position # 1. The decay of bells - a combination of a stick hit and a bell response are completely different (more true) given by SR in position # 1 than in the other 2 variants. I would say that this slightly lengthens the lowest bass.
But the improvement of the rest of the aspects is so big that I don't hesitate to decide which partner to stay with. The SR in position # 1 is a very precise 3 dimensional scean made of 3 dimensional sounds. Plastic, with the body / filling, tangible, with rich colors and high selectivity and resolution increasing the realism of the event.
The SR in the inverted position (# 2) means that more air passes through the air, the lowest bass is slightly longer, but at the cost of less mass in the entire frequency range, a bit of lower resolution, and a smaller opening at the top.
Factory fuses are a sound devoid of any mass / filling (introduced by the SR), it has more air than with the SR, but the soundstage is also the least precise, the timbre is poorer and the treble softer. The illusion of tangibility, the presence of musicians much smaller. The length of the lowest bass decay similar to the SR in position # 2. This sound no longer draws you to the chair as with the SR in position # 1.
I would definitely recommend it if someone likes a very last, tangible, 3-dimensional sound (I don't mean space as such, but just individual sounds that are 3-dimensional solids in a deep 3D space).
I enclose a photo of the fuses in position # 1.
In the cold (first 50 hours) the effect was even slightly disappointing. Worse differentiation of colors, shorter lowest bass, no positives (maybe the space is a bit more precise). I decided not to be discouraged by this beginning and give them 200-300 hours to reach the optimum. They currently have about 285 hours of run (I have a preamplifier hour meter so I can accurately determine how much time they are already playing). Today I did tests, what happens after returning to the factory fuses and how does the sound change when I put SR Orange in the opposite position (turn it 180 degrees).
So, by far the best (for me, in my system) Antileon Evo plays with the SR Orange, inserted in the position suggested by the manufacturer (as the SR Orange is directional). It's a bit worse for me to turn them 180 degrees. The worst case with factory fuses. The differences are generally aimed at increasing the palpability of the sound, its three-dimensionality, richness, and increasing the illusion of the presence of instruments. With the SR Orange inserted correctly (let's say this is position no. 1), the midrange and treble range, which are more selective, show more nuances hidden in the background. Due to this, and the filling / greater mass served by the fuse, the differentiation of colors is better. The differences between, for example, the side flute and the flute are clearer and do not come down only to the tone of the instrument, but to many other small flavors that acstically define these instruments.
The decay of bells - a combination of a stick hit and a bell response are completely different (more true) given by SR in position # 1 than in the other 2 variants. What I would say is a slight lowest bass shortening.
But the improvement of the rest of the aspects is so big that I don't hesitate to decide which partner to stay with. The SR in position # 1 is a very precise 3 dimensional scene made of 3 dimensional sounds. Plastic, with the body / filling, tangible, with rich colors and high selectivity and resolution increasing the realism of the event.
The SR in the inverted position (# 2) means that more air passes through the air, the lowest bass is slightly longer, but at the cost of less mass in the entire frequency range, a bit of lower resolution, and a smaller opening at the top.
Factory fuses are a sound devoid of any mass / filling (introduced by the SR), it has more air than with the SR, but the soundstage is also the least precise, the timbre is poorer and the treble softer. The illusion of tangibility, the presence of musicians much smaller. The length of the lowest bass decay similar to the SR in position # 2. This sound no longer draws you to the chair as with the SR in position # 1. The decay of bells - a combination of a stick hit and a bell response are completely different (more true) given by SR in position # 1 than in the other 2 variants. I would say that this slightly lengthens the lowest bass.
But the improvement of the rest of the aspects is so big that I don't hesitate to decide which partner to stay with. The SR in position # 1 is a very precise 3 dimensional scean made of 3 dimensional sounds. Plastic, with the body / filling, tangible, with rich colors and high selectivity and resolution increasing the realism of the event.
The SR in the inverted position (# 2) means that more air passes through the air, the lowest bass is slightly longer, but at the cost of less mass in the entire frequency range, a bit of lower resolution, and a smaller opening at the top.
Factory fuses are a sound devoid of any mass / filling (introduced by the SR), it has more air than with the SR, but the soundstage is also the least precise, the timbre is poorer and the treble softer. The illusion of tangibility, the presence of musicians much smaller. The length of the lowest bass decay similar to the SR in position # 2. This sound no longer draws you to the chair as with the SR in position # 1.
I would definitely recommend it if someone likes a very last, tangible, 3-dimensional sound (I don't mean space as such, but just individual sounds that are 3-dimensional solids in a deep 3D space).
I enclose a photo of the fuses in position # 1.
