Gryphon Audio Pendragon Loudspeakers…A True Statement?!

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I am not keen to consider myself a career audio reviewer. Actually, I preferred to be myself, like any other audiophile in the quest for better audio component. I have my doors open to any audio distributor/ manufacturer/ designer who believes that his/ her audio component is better than the one in my audio den. I told them that the main rule of the game is that I be the final judge with the last say since it is my wallet. All agreed and I have almost every major distributor of the finest audio components come my way. So, what I have written here is a “journey to a decision”.

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It’s never easy to choose the right loudspeaker given a particular space and complimentary audio components. Many who have followed my previous write up here, knew of my current resident amplifiers, pre amplifiers, source and the cables that connect them all. The system connected here is all mainly Vitus Masterpiecesand cables mainly from Skogrand (Markarian /Beethovan model) and Vertere Audio (Pulse Hand-Build model). But there are other combinations of cables involved here too. The sources are mainly analogue with the TechDas Air Force Oneturntable together with the Vertere Reference Tonearmand ZYX Omega Gold MC cartridge. The digital helm is by the Vitus Masterpiece Dac MPD-201 and partnered with the Aurender W20.

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I visited the Munich Hi End show for the purpose of searching what is the better and the best loudspeaker system out there. That trip opened my ears quite a bit. I have short listed a few contenders. I have to say, all these contenders sound great and my mind was imagining the rest. The trip caused me to think and (actually) believed that the available technologies and parts that are available allow each designer to build something that is to him or her how music supposed to be heard. I love to talk to designers and hear their likings in life.

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I find that one’s life(style) can be summed up with his or her music (or none at all). Hence, my experience (not conclusive) leads me to believe that an “independent” designer with a free hand, like an artist (some), will try to build something he or she believes in and love.

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Thus, the creation is the designer’s. If I can “click” well musically with the man or woman behind that product then that may be short listed for the buy. I was treated well by a number of designers at the show. Everyone is friendly and more than happy to share their ideas. In a word, “fun” is all I gathered there.

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Based on my listening preference and my ratio of price to performance obtained from the contenders, my decision slides to the main spot light to write. The Gryphon Audio Pendragon Loudspeaker system is my current reference loudspeaker.

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I must admit that I do not have much experience with four chassis loudspeaker system. I embarked to go into such system with a belief that the flexibility of tuning the system to couple with my room and all it’s modes is worth the trouble.

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I am blessed to have great help in the education of the necessary procedure of setting up such system and in the actual work from Rave Audio’s TK Han (the local Gryphon Audio distributor), Ben Chia (Absolute Sound), Touraj Moghaddam (Vertere Audio), Dietrich (Acoustical System, Germany) andThomas (Syntax at Audiogon).

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To simplify the lesson learnt, the four chassis must be placed at an arch (as per in the manual). The bass tower must be treated with care as a full range speaker and that the treble (ribbon) tower must have enough space from the front wall in order to capture what I am describing below.

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When Flemming was at my place, I did play certain and suitable tracks at high volume (peak above 100dB). He was nodding his head in agreement with the tunes and shared to me that he does listen to music loud too, at certain times.

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I have always wanted my loudspeaker system being able to play loud without any loss of detail, control, finesse, energy, dynamic and musicality. There, the transient of the energy and all nuances of textures must be cleanly and clearly delineated.

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Ultimately, nothing must be lost at any volume level.

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First pick is an old vinyl title from Reference Recording, Blazing Redheads’ Crazed Women (RR-41), to check out how the system hold up at peak volume around 100dB with multiple musical instruments played at the same time and space. I would summed up that every instrument at play maintained its independence, freedom and coherency at sizzling hot tempo.

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The pace, rhythm and tempo of the system is so good that the feel of the music comes at you unhindered. I can hear and feel the free flow of each instrument at play. The energy of different instrument is clearly portray, and each in its own space.

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The last track of side two, “Tiananmen Square” will have a ‘gong’ that this system will allow you to experience so low the frequency and to hear it to the last stop.

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My next in play is a Toshiba Direct Cut Pro Use Series vinyl record from Eiji Kitamura & All Stars’ 30 years in 30 minutes ( Toshiba LF 95012 ) where I am amazed how the Gryphon Audio Pendragon is able to capture the three dimensionality of the piano at play in the background amidst the many other more prominent instruments.

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At my previous reference loudspeaker system, I will hear the piano at play but not with such vividness and weight that constitute the essence of each note clearly play out to its respective stop. This is my first with my current set up!

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Quality Pressing under the light of Chad Kassemproduces some of the finest reissue around and almost always I will play their Living Stereo’ Offenbach-Gaite Parisienne, Boston Pops Orchestra, Fiedler ( LSC-1817 ). Here, I would like to add that the space and airsurrounding each instrument and the atmosphere of the play in the venue is so much more present with certain tangible weight compare to most other loudspeaker that I have had the pleasure. This also add up to the clarity and clear delineation of each toneplayed. To my ears, I can more easily follow and enjoy the music being played, even in the most congested play.

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A few friends who visited me will attest that I love to end our listening session with the vinyl single of Murray Head’s One Night in Bangkok (RCA Chess PD-13959).

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At high volume level, even the best audio system may suffered in more than a point. The mess that come out is so difficult to decipher and our brain can easily dismiss all as noise. The Gryphon Audio Pendragon display great control here that you do not feel the above 100dB.

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Many attendees actually ask me to play again and louder. At this (almost) discotheque level, we can hear distinctly the different musical element at play. The vocal is clearly separated with his own space from the electronic music. The same treatment on the background opera singing, music and voices from all the main “ho hah”. The whole presentation is so control and in order that is so enjoyable and have you listen to again and again. This is a good test for any mega audio system and my good testament is that I sent a few running out to buy a copy of the same vinyl to run their audio system.

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Play any good recording from the Music Matters’ reissue of the Blue Note titles and read up the liner notes of that date. If you are able to understand and feel the comment of the critic of that date as you listen to that record then I would say that you are hearing that record. The Gryphon Pendragon allow me a door to the date of the recording session that I am able to hear the breath taken by the musician(s) before each stroke or blow or brush on his instrument, and feel the strength of it. 

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In addition, theair that movesas each movement made by the musician can be experience too. I believes that the treble ribbon employed in the Pendragon should take the credit for this. I am a believer of the advantages of ribbons that they arefast enough to capture the tempo of the musical instrument and the skill or artistry of the musician.

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The whole package of the Gryphon Audio Pendragon involved dynamic drivers too and if they are not in “speed” and/or in sync with the ribbonthen it will be a failure. I am happy to report that both types of drivers sync well to my ears. That is the game with this type of four chassis loudspeaker system.

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After much play with the placement of them, I found out that strict adherence to the recommended position as per the manual yielded the best result with coherence approaching two chassis loudspeaker system.

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To test this further, I share to you that as the tempo picks upin any of these fine recordings, the Gryphon Audio Pendragon system is able to carry you without any hint of any loss of breath (unless the musician(s) does). The challenge does not stop here, many of times, I notice that the leader of that date loves to carry you on a musical waveto a great height and then let you off. Many of loudspeakers will not be able to follow through such a roller coaster ride as the Gryphon that have the braking system of a formula one ride!

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I was advised that the treble ribbons does not and will not sound hard or bright thus it is also the case that they do not equal the pin point imaging like a dynamic driver and tweeter. I do agree (in part) of the above assessment in the case of the Gryphon Audio Pendragon.

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When I was in the course of finding the best placement position for them, I found myself comparing the imaging of the Gryphon Pendragon with my previous reference, the Egglestonwork Ivy Signatureand other two chassis loudspeakers. After much work and help from friends, I decided to placed the Gryphon Pendragon around the same distance from the front wallas my previous Egglestonwork, that is 8 feet. I was seatedslightly beyond 11.5 feet. The bass towers are toe in at the sweet spot, and the treble towers are toe in less. Here, I manage to obtain the cleanest and clearest low bass with treble to match, thus a tonal balance of my preference.

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I played Ms. Stanley’s Potion-From the 50’s (A.T. Music LLC 3103) vinyl album. I find that through the Gryphon Audio Pendragon, this recording capture the atmosphere of the recording venue and the spacebetween accompany musicians and their respective musical instrument. I love the captured (or recorded) energy of each musical instrument throughout.
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Hearing this vinyl album through the Gryphon Pendragon find me not missing the imaging of my previous reference loudspeakers. I am really impressed with the ability of these loudspeaker in reproducing the tones of the piano. I can clearly hear the different key being played and the different strengthapplied and for how long. The start and stop of each key is so apparent, and all with the right tonality. It does not stop at the tones, the Gryphon Audio Pendragon is able to convey the weight and the scale of the piano, even in those difficult and congested passage. I am fooled into believing that an actual piano is in my audio room.
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The star lady, Ms. Lyn Stanley’svoice was captured with fleshand breath. I can vividly imagine her lips pressed towards the recording mike. I would say that her artistry is capture clearly here. Comparing with her previous album, “Lost in Romance” (A.T.Music, LLC-3101) which is another great audiophile album with much care and effort spent, Ms. Stanley is so much more confident in her artistry here and more relax to explore the different styles in portraying the fine selection. Another observation from this recording is that Ms. Stanley’s vocal is capture in the right balance with the accompanying musicians. I find that most recordings almost always give too much prominence to the lead vocalist (which is not wrong) but I believe that the right balance provides the nearer experience of the actual session. My hope is that there will more of such great recording.
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The Gryphon Audio Pendragon is an extreme transparent transducer. Do expect to hear the different distancebetween each artist with the recording mike and all movements made by the artist. Everything recorded will be played back more vividly here. I hear Ms. Stanley’s voice became more chesty and breathy as she is nearer to the recording mike and I notice she like to start each song near to the recoding mike. The shifting of her head and movement of her lips affect the space her voice occupied in the soundstage, will be vividly portrayed through these loudspeakers. In comparison with some other loudspeakers, I only hear a hint of such shift in the space between the source (vocal) to the recording mike. Most of the times, many audiophiles may even dismiss such phenomenon as an instability of the imaging. At first, I have the same conclusion but was later came to the above deduction as I noticed how densely and palpable the imaging is, even as it moved. It is an eerie feeling with the hair over my hand stands up.
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My next pick is another vocal album by Ms.Cecile McLorin Salvant’s “Woman Child” (Mack Avenue MAC1072LP), where her diverse styling and artistries are vividly exposed through the Gryphon Audio Pendragon. Here in this recording, at the track, “Mean to Me”, the vocal floated behind an extremely quiet background with only the accompanying bass, where to me all are exposed, are being presented most naturally and in the right balance. This is an area where smaller or mini monitor speaker usually strive well against the bigger loudspeaker. The right tonal balance of the Gryphon Audio Pendragon (when properly calibrated) will play with precision like a mini monitor and with certain weight that is not necessary more bass but in full(er) bandwidth or totality. 

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