At Denmark’s Gryphon Audio Designs, black has been the new black for decades. Nothing in high-end hi-fi makes a statement quite like a ‘Gryphon’ power amplifier. Yeah, big, black, bold, badass. Antileon… running in egg-frying Class-A. And now, after multiple generations spanning decades, the company’s hero-character and symbol of strength, quality and performance, spawns a successor. Antileon Revelation, a pivotal lion-like behemoth, wings forward beyond its EVO predecessor. Have the company’s engineers surpassed the award-winning formula? Can the new cub roar as convincingly, and even more powerfully, than Antileon EVO?
Revolution or Revelation?
I’m sure I’ve mentioned this before on, at least, one of my several Gryphon Audio Designs amplifier reviews. It was an important chapter on my audio journey, so it bears repeating within this context. Back when I was a neophyte in this rich and most rewarding of hobbies, my tireless research and sponge-like absorption of all-things audio led me to a foretelling discovery. It was a massive, heatsink-flanked Class-A monster amplifier from a company I’d not heard of back then. That amp was the DM 100 from Gryphon Audio Designs, at the time a blooming new high-end audio entity.
The DM 100 was a titanic black mass. It was high-end amplification’s Monolith, and what I imagine Kubrick would have in his music room. In a not-so-common topology back then and, reflecting its name, it put out 100 watts in pure, frying-hot Class-A (at the full bias setting).
Its styling exuded macho-industrial elegance while menacingly promising unbridled power. Man, did it sound explosive and well beyond its power rating. And like Clarke’s and Kubrick’s Monolith, once exposed to it, you are somewhat… changed. You begin to understand the virtues of high bias topology. Controlled evolution. I longed for that amplifier, but alas, in those days I simply lacked the coin. Crushing.
Several years later, I managed to outlay the funds for a Tabu 100, my first entry into Gryphon Audio Designs amplification ownership. Although an entry-point into the company’s power amplifiers, it was quite the over-performer. Thank you for facilitating, sorely-missed Josef Riederger… you were an Australian audio legend and one of the world’s earliest Gryphon Audio Designs distributors.
Several amplifiers came and went after the Tabu, covering all technologies, such as high-power Class-A/B solid-state, low-power valve SETs (Single-Ended Triode), Class-D, and hybrid designs. Then in 2016, I finally stepped into the DM 100’s successor lineage with the exceptional Antileon EVO, which has been the beating heart of my reference system’s power amplification since. It’s been a superb performer, unmatched in its sense of power, control and dynamics across the bandwidth, its massive spatial presentation, and its supreme domination of the low frequencies. Yeah, bass is killer.
Antileon Revelation gains a small layer of extra muscle, marginally upping EVO’s power output capabilities from 150 watts to 165 watts per channel at 8 ohms. Into lower impedances, the Revelation outputs 320 watts into 4 ohms and 620 watts into 2 ohms. Output impedance is 0.04 ohms. Unweighted noise is quoted at under -78dBV from 20 Hz to 20 kHz while A-weighted noise is given as -81 dBV. Total Harmonic Distortion + Noise (THD+N) is under 1% at 150 watts and 8 ohms, while bandwidth at -3dB is specified to span from 0.3 Hz to 350 kHz. Damping factor is said to be “frequency-independent”. Oh, and did I mention that this beast weighs in at 90 kg! Phew!
Gain remains at a high 31dB, which makes the Antileon Revelation suitable to run with passive preamplification or via a direct feed from a digital-to-analogue converter with onboard volume control. Ideally, of course, the Antileon Revelation should be matched to a high-end preamplifier of whatever technology you favour, and Gryphon Audio (for short) offers suitable synergistic options of the solid-state type.
Naturally, under lead engineer Tom Møller, Gryphon Audio designers continue the Antileon tradition of Class-A, dual-mono, and zero global negative feedback circuitry. And like all the company’s products, Antileon Revelation is entirely designed, engineered and manufactured in Denmark.
The Revelation’s output devices have trickled down from Gryphon Audio’s magnificent Apex flagship amplifier. There’s now 40 Toshiba high-current bipolar transistors total, while the capacitor bank, as per EVO, is 670,000 micro-farads. Also trickled down from Apex/Commander are the fully balanced input and VAS stages (Voltage Amplifier Stage). Being a dual-mono design, the stereo Antileon Revelation houses two high quality 1.15 KVA toroidal transformers, with a separate dedicated power supply said to power the digital control, display and fault management systems (local power supplies decoupling via “premium” polypropylene types). Said transformers are shielded and enclosed within epoxy-damped transformer casings which are “suspended for effective vibration isolation” plus the transformer castings are decoupled for further vibration control.
Revelation’s circuitry is set into military-specification double sided, extra-thick copper printed circuit boards in an optimised layout for shortest signal paths. Gryphon Audio’s own silver internal cable is employed for the signal and power wiring. Another new addition to the Revelation is the nicely machined steel cone spiking system (super-sharply pointed but surface protectors are provided) aimed to provide further vibration control for the chassis, replacing the large plastic/rubber footers used on EVO.
The Antileon Revelation’s fascia features a panel housing a row of buttons, each with its own coloured LED, featuring several control functions. From left, there’s an on/standby button, Mute, and Bias-Low, Bias-Medium, Bias-High buttons which allow three degrees of Class-A operation. The last button is marked ‘Check’ and allows activation of a self-diagnosis cycle, plus also serves to inform of a circuit or amplifier fault.
The rear panel’s socket options now feature Gryphon Audio’s new proprietary gold plated speaker binding posts (an improvement on the previous type which were also superb), and dual 20-amp IEC19 AC sockets, each coupled to large on/off mains switches. Yes, the Antileon Revelation is, as per its predecessors, a true dual-mono design. Low-level signal is handled by balanced XLR input sockets of the Neutrik gold plated type. Non-audio signal related are the ‘12V Link’ remote on/off trigger and a ‘Green Bias’ input which, if so fitted, allows a Gryphon Audio preamplifier to determine the level of Class-A output depending on the volume control’s setting (alternatively, Class-A can be set via the front panel controls). Clever.
Being a true balanced design, that’s it as far as connectivity, so ideally, your preamplifier needs to provide true balanced XLR outputs or, at least, output connector options of that type, something that most preamplifiers at this price point will have. Less than ideally, an XLR to RCA adaptor could come into play if necessary. My Supratek Cortese Reference’s proper balanced transformer outputs did the trick exceptionally well.
When the Antileon Revelation is turned ‘on’, a soft-start process cycles through a series of diagnostic tests which are microprocessor-controlled as part of a non-invasive “smart” protection system. The cycling takes place over an approximately 10 second interval where all the status/function lights flash. Once the process is done, the amplifier activates and unmutes itself. Now you’re ready to rock.
The Antileon Revelation is undoubtedly a talking point piece. Its presence commands attention due to its extraordinary industrial design by ex-company head Flemming Rasmussen. The chassis is immaculately executed, with every panel, every contour, every joint precisely aligned.
There’s a new and extremely attractive creature feature: a Gryphon “sculpture” mounted on a circular plate on Revelation’s top panel. It’s a 3D precision machined aluminium representation of Gryphon, the beastly eagle-headed, lion-bodied mythical creature, a symbol that has become inseparably associated with the brand. Also new are the twin slabs flanking the control panel which are now thick, solid aluminium but were once black acrylic on EVO and prior models. Does this signal the conclusion of black acrylic styling from Gryphon Audio? It’s kind of looking that way…
Mr Muscle, Meets The Music
Antileon Revelation slotted into the system alongside my Antileon EVO. Sitting these two beasts side-by-side (they were quite the sight together), allowed me to make quick-and-easy comparisons between the two. Not that it was strictly necessary as an exercise, as living with the EVO for ten years, naturally, made me acutely cognisant of its extensive sonic abilities. Yet, the juxtaposition was quite revelatory, cheesy pun intended.
If I wanted to share a teasing sound bite, a quick snapshot of how Revelation differs from EVO, I would have to point out a finer magnification of low-level detail, a more defined transient attack on bass notes’ leading edges, and a more explosive dynamic expression. Interestingly, going back and forth between each generation of amplifier, I could swear I noticed an enhanced sense of authenticity across both male and female voices. I attribute that to the higher level of detail Revelation provides.
On Bat For Lashes’ “I’m on Fire” from the Fur and Gold album, Natasha Khan’s emotive interpretation of the classic Springsteen song, carried enhanced realism, with her voice sounding more… plausible. On the track “Trophy” from the same album, the bass guitar and the low piano notes at the track’s intro, had superb control, depth and nuance. When the male vocals enter through the chorus, they were clearly separated from Khan’s own intonation, giving them individual characteristics all their own.
Wanting to really test Antileon Revelation’s dynamic capabilities, bass control, and overall power, I sampled a mix of rock, jazz, and orchestral tracks I know can slam hard. In addition, those latter two genres, in particular, are also invaluable for gauging tonal accuracy, spatial cues, and image specificity, among other things.
OK, if you want to experience heavy rock in a way that is visceral, engagingly powerful, even scarily so, you’d have to spin or stream something from Tool, one of my favourite bands. From the album Ænema, “Eulogy” starts with low level chirping sounds (I believe they are guitar string plucks played at the bridge) which Revelation expertly delineated, and which are followed by an unusual keyboard-like sound (I believe that it’s actually the bass guitar played through an effects pedal) and joined by concussive kick drum hits.
The sheer amount of musical information the Revelation uncovered was outstanding, especially given that the Antileon line traditionally favoured musical flow over outright detail. Revelation does both. As the track rolled on, all the quirky sound effects start overlaying over the kick drum, each was easily discernible and equally enjoyable. Then… yeah, all hell breaks loose. Be prepared to go on a ride…
The most dynamically powerful jazz recording I own, and I’ve ever heard in fact, is Live At The Columns by the Tony Dagradi Trio. Play “Limbo Jazz” and be mindful of the volume control because your speakers may not survive it. At the acoustic bass solo, the control, snap, detail and transient attack that Antileon Revelation delivered are literally scary (especially through the bass player’s string pulling). And at the savage drum solo that follows… shit, brace yourself.
The album The In Sound From Way Out was a total surprise when it was introduced to me by SoundStage! Australia reviewer Mark Busby. I would have never guessed this 1996 instrumental release mixing jazz, funk and chilled vibes would come from none other than rock-rap champions the Beasty Boys. Yes, 30 years ago! How did I miss this? It’s a decent recording too, and on “Pow!” the snare had great bite and cracking speed, while the guitars and keyboard melded in to make one helluva a toe-tapper, even as the tempo markedly slows towards the latter section of the track.
It may be a 1986 production, but the ‘BIS Original Dynamics Recording’ release of Farberman’s Concerto For Jazz Drummer & Orchestra was incredibly lifelike and powerful. In fact, I’d consider this 40 year old production to be superior to many contemporary recordings. “Movement 1” was an exercise in explosiveness, with Louie Bellson’s drumming taking centre stage in a presentation that spanned the gamut of dynamic contrasts. In typical Antileon fashion, Revelation presented an ambience and spatial reproduction that was exceptionally wide, tall and deep. The venue’s subtle echo, its acoustic signature, was clearly audible, translating to a natural, realistic sense of space and a strong feel for the live event itself. The horns on “Movement 2” were sharp with the appropriate bite, yet they sounded like an actual section, or grouping, of individuals rather than a homogenous mass… or mess. Same for the rapid-fire of the snare and toms on “Movement 4” where multiple hits were distinctly separated. Tremendous resolution, here.
Voices were stunning via Revelation. Rufus Wainwright’s Folkocracy album features a wide spectrum of male and female special guest vocal acrobatics. “Heading for Home” is a great track where Wainwright shares vocal duties with John Legend. Each singer is instantly and unmistakenly recognisable and individualised with their own tonal character, sounding stunningly natural and dynamically articulated. Same for the individualism-in-unison, if that makes sense, comes through on “Hush Little Baby”, with Rufus joined by sisters Martha Wainwright and Lucy Wainwright Roche throughout most of the track’s pre-chorus and chorus. It’s pure pleasure to hear these siblings together nailing this great track.
Over the several weeks Antileon Revelation was in-situ at SoundStage! Australia HQ, I worked through a whole heap of great vocal tracks from Ryan Adams and Chris Cornell to Harry Belafonte, Patricia Barber, Fiona Apple and a stream of great voices in between. With no exception, clarity, presence, warmth, articulation, were always evident and super-enjoyable via Antileon Revelation.
Conclusion
As I conclude this review, I stop to ponder on the evolution of Gryphon Audio Designs and other mature high-end companies. As far as an upper-tier player with merch spanning the full audio spectrum, from analogue and digital sources, amplification electronics, cable interfaces, loudspeakers, and even audio equipment racks, very few (you could probably count them on one hand) follow such a… restrained product update cycle. Do it once, do it right, don’t stuff around with it until a true improvement, a worthy upgrade, is possible. That’s Gryphon Audio Designs’ credo, right there.
Point of illustration: The Antileon Revelation’s predecessor the venerable Antileon EVO ran for over 10 years. Prior to EVO, there were at least equal, or even longer, time spans between meals. When the haute cuisine is that satisfying, its sustenance is long-lasting.
So yes, Antileon Revelation builds on a highly acclaimed and commercially successful platform, one that has sustained Gryphon Audio Design’s reputation for meticulously engineered Class-A amplifiers, and now refines it with discernible, and indeed desirable, improvements.
The Antileon Revelation delivers a full-bodied midrange, a delightfully refined top-end, and monstrously powerful low registers. In terms of tonal textures and dynamic expression, enduring strong points of this platform, there are degrees of texture and power that paint with colours of the deepest-black night and burning-bright midday sun. All in an enhanced and unique Goth-black industrial design.
Yeah, it’s an achievement. As far as this writer is concerned, Antileon Revelation is firmly locked into the upper echelon, heavy-steel vault of modern high-end amplification. Again, this one stays…
… Edgar Kramer
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NOTE: For further brief insights, company and personal history, and music mentions watch the Lead-In preview video here.
Associated Equipment
- Speakers — Wilson Audio Alexia V, Axis Loudspeakers VoiceBox S (nearfield monitor), Vermouth Audio Little Luccas Mk.II Limited Edition, Atacama stands
- Amplifier — Gryphon Audio Antileon EVO
- Preamplifier — Supratek Cortese, Totaldac d1-triunity (periodically, direct to amplifier)
- Sources — Digital: 432 EVO Aeon Mk.3 Reference Music Server/Roon Core, Yamaha CD-S2100 transport, Totaldac d1-triunity DAC. Analogue: Transrotor Crescendo with Konstant Studio controller, Reed 1X Tonearm with upgraded internal wiring, Shelter Harmony cartridge, The Funk Firm Houdini cartridge decoupler, Supratek Cortese & REDGUM Audio RGPH2 phono stages
- Processor — DEQX PreMate (part of arsenal/casual use)
- Cables — VYDA Laboratories Orion Silver Reference HFC IC and speaker cables, Cerious Technologies Lumniscate loom, PSC Audio custom design XLR, Vermouth Audio Reference loom, Tubulus Concentus USB
- Audio Rack — SGR Audio Statement MODEL V, Aspire Audio Belgravia amplifier platform (customised for Gryphon Audio Antileon EVO), Stereotech Aluminar Dark 3-tier rack
- Acoustic Treatment — Vicoustic Multifuser Wood, Wavewood Ultra, Cinema Round Premium and Super Bass Extreme
- Miscellaneous — Silent Angel Bonn N8 Pro network switch, GigaWatt PF-1 EVO power strip, Les Davis Audio Viscoelastic CLD discs, Voodoo Cable Iso-Pods, Bocchino Audio Mecado, Secret Chord Analogue Record Restore, plus miscellaneous accessories
Gryphon Audio Designs Antileon Revelation Power Amplifier
Price: AU$64,995
Australian Warranty: Five Years
Australian Distributor: Advance Audio Australia
+61 2 9561 0799
www.advanceaudio.com.au
Gryphon Audio Designs
Industrivej 10B
8680 Ry
Denmark
+45 86 89 12 84
www.gryphon-audio.com
