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Eagleeyes

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  1. I should mention my comments are based on the price points up to 20k second hand . I am sure their are many other options available higher up that are better but in the value for money stakes the Gryphon is hard to beat. However as we all know it is only part of the expensive puzzle or hobby we all enjoy so much. Good luck Chris and enjoy the search.
  2. The Gryphon has selectable bias and it makes a considerable difference to the heat output.
  3. Chris I have written 4 different replies to you, long and short but I just wanted to give you my thoughts. The Gryphon is an absolute killer of an amp, I have had Vitus pre and power set ups and have a full set of Concert Fidelity amps worth twice the Gryphon but apart from its sheer size, which I find hard to accommodate in my family room and heat output around my kids nothing I have ever heard or owned comes close to a Gryphon Antileon Signature power amp... I have worked in a high end store in the Uk and been around audio for 30 years and listened and tried so much audio gear. The GAS is the real deal and Billy Idol has never rocked as hard. I like to listen at live concert levels and it never ever fails. If you were in Perth you could borrow it to prove to yourself. If it sells I will either live with the CF's as they are excellent and I have them already or sell everything for Gryphon mono blocks. regards Adam
  4. PRICE INCLUDES FREIGHT AUSTRALIA WIDE Absolutely stunning sound and Legendary 90 kilo class A 150 watt monster power amplifier from Denmark. Can run in various classes and mixed level of bias/ gain control from cool to touch , to low bias and warm to piping hot with all 150 watts class in high bias. Amp has onboard status system check software that runs every time you turn on and also has its own power conditioning and protection. Audio Connection has power amp for sale for $19000 Considered as one of the best pre -power amp combinations in the world at any price.., Serial number 246 Has genuine working remote, books and original gryphon flight crate for power amp. Manuals for specs https://www.manualslib.com/manual/570264/Gryphon-Antileon-Signature.html?page=3#manual Review https://www.soundstageultra.com/features/twbas_20040601.htm Which leaves the inevitable question -- what is best? At this exalted level, there are no losers. For The World’s Best Audio System I’m only seeking out gear that holds the highest promise, so therefore I could argue that a number of electronics that I’ve heard could be called best. In the right system and to a particular listener, any of them could come out on top. But to leave it at that would be taking the easy way out. So perhaps the better question is this:" If I had to quit auditioning amplifiers and preamplifiers today and keep one stereo setup for the duration of my days, which eletronics would I choose out of all those I’ve heard? The Gryphon Audio Antileon Signature Stereo amp and Sonata Allegro preamp, without a second thought. They’re the desert-island pairing I’d most like to be stranded with. And if that happens, don’t come find me anytime soon." ...Jeff Fritz jeff@ultraaudio.com Gryphon Audio Designs Antileon Signature Stereo Amplifier and Sonata Allegro Preamplifier The closer an audio component comes to my ideal of being the best, the harder it is for me to write about it -- this despite my overflowing admiration for such rare creatures. As a component comes closer to my ideal, it exposes itself to a diminishing angle of attack for me as a writer. Whether a brute-force mammoth, a high-tech wunderkind, or a study in craftsmanship, most products show their best side much as a model prefers certain aspects of her face or body to be photographed. There are traits other than the obvious ones neatly hidden. The Gryphon Audio Designs components under examination here have, as if perpetually turned on a dais, denied such a static view. Granted, your first impression of the $24,000 USD Antileon Signature Stereo amplifier will be that it is a monster of a component. It is simply huge -- almost 200 pounds in weight and 22.8"W x 10.4"H x 24"D. It’s dimensionally larger than it appears in pictures due to its symmetry. (Unlike, for example, Threshold’s SA-12e of yore, the sheer depth of whose chassis in comparison to its height and width made it unwieldy to place and look at.) The $12,500 Sonata Allegro preamplifier is large, too, but not unwieldy as it is separated into two 19"W x 5.2"H x 15"D components. Each preamp chassis, though, is actually a two-box design; the power supply and control unit each contain two physically separate boxes connected by gold-colored cylinder-shaped sleeves. But once you get past the immensity of it all, your impression might change. Mine did, as I concentrated on the actual aesthetic details of the physical architecture. There’s the black acrylic used on the front panels of each component, so dark as to seemingly lighten the black anodized-aluminum chassis to the eye. Then you have the multi-layer top plate of the Antileon Signature Stereo, which seems to give depth and added visual dimension as you’re looking straight down upon it from above. The Sonata Allegro, with its aforementioned four individual boxes, is equally interesting -- from above you can see the shelf on which it sits by looking right down upon its divided center: Again, to the eye it alters the perception of the component; you’ll see depth and dimension without apparent bulk. It’s also impossible to neglect how all of the materials fit together in such a flowing fashion. That aspect alone will cause appreciation of the exactitude of the physical design. Once you start using these components you’ll form another set of impressions. Brute-force build is not accompanied by brutish ergonomics. The muscle is guided by intellect. For instance, you can select the level of class-A power produced by the Antileon Signature Stereo from the amplifier’s front panel -- just press either the Bias L (50W class A/150W class A/B) or Bias H (150W class A) button. For critical listening you might go with the full-bore, scaldingly hot class A of Bias H. Conversely, you have the option of lowering the available class-A output, thereby running the amp slightly cooler for less-critical use. Further, if used with the Sonata Allegro preamplifier and connected with Gryphon’s proprietary Green Bias Link, you have access to what Gryphon calls "Green Class A." This feature adjusts the amplifier bias in relation to the preamplifier’s volume control. You simply have the amount of class-A power on tap that you might need. Massive power reserves are ready and waiting -- up to 5000Wpc of peak power into a half-ohm load should you need it. Have you seen the high-tech computer systems used to help diagnose automobile malfunctions? Gryphon Audio Designs' version is built in to the Antileon Signature Stereo. If you’d like for the amplifier to run a series of diagnostics to ensure proper operation, simply press the Check button on the front panel; once the test cycle is complete, OK indicators on the faceplate will illuminate for each channel. If the Antileon Signature ever requires service and is sent back to the factory in Denmark, you’ll have your own record of what was done inside the amplifier. An internal service log is contained within the upgradeable microprocessor’s software, so you, or the subsequent owner (if you ever part with the amp!), will know if that particular unit was repaired or upgraded. Pretty advanced stuff going on in Scandinavia, I‘d say. But there is still that outward appearance of simplicity that you’ll appreciate. For example, there are a variety of custom adjustments available to the user of the Sonata Allegro preamplifier, but the front panel isn’t cluttered with them. Instead, they’re hidden from sight behind the dark acrylic faceplate. You’ll only know they’re there by calling them up -- either by the remote or from the front panel -- at which time a menu will appear in red lettering behind the jet-black face; adjustments include level matching for each input, a default start-up level, and a maximum level so that a miscue doesn’t blow up your speakers. I was impressed. Just as the physical design reveals layers of well-thought-out detail, so does the user interface. There just always seems to be more to discover about these components. Before I describe the sound, here are the rest of the nuts’n’bolts. Both the Antileon Signature Stereo and Sonata Allegro share a number of design characteristics, such as fully discrete, pure-class-A, dual-mono, fully balanced circuitry. The dual-mono aspect of the design of each component is taken to the practical extreme -- there are two detachable power cords and two power switches for both the preamp and amp. The Antileon Signature Stereo is said to use "zero global feedback," while the Sonata Allegro eschews "negative feedback." Both components have massive capacitor banks for their respective functions. The amplifier sports twin-tiered banks totaling 440,000 microfarads, while the preamp counters with 33,000 of its own. Internal wiring is kept to an absolute minimum in both units, and where it is needed Gryphon’s own Guideline Reference gold-embedded silver wire is used. The Antileon Signature Stereo’s mammoth weight is partly due to the custom-designed 1500W transformers that are potted in epoxy and mounted inside their own shielded compartment. The Sonata Allegro utilizes custom-made C-core transformers -- one for each channel -- each mounted in a separate chassis. The 150Wpc Antileon Signature has balanced inputs only, but Gryphon does supply a set of high-quality RCA-to-XLR adapters. Two sets of rugged gold-plated binding posts of Gryphon’s own design are provided for biwiring. The Sonata Allegro has four balanced XLR and two single-ended RCA inputs and two balanced and one single-ended output. The multiple outputs make powering subwoofers and/or multiple amplifiers a snap. The Sonata Allegro, according to the design brief included with the unit, even has its very own power-line conditioning and voltage regulation. Finally, a word about the build quality: outstanding. I have long admired companies that go above and beyond to deliver a product that is constructed with greater care than most. It’s one aspect of my Wilson Audio loudspeakers that is obvious before you even hear them. The Gryphon separates are similarly impressive. Every chassis component is fitted to the next with precision, while each piece is machined with excruciatingly tight tolerances. Sheer perfection. Onlookers in your listening room might question why you paid so much for a Gryphon component, but they won’t question that what they’re looking at is top-shelf stuff. During the audition period even casual observers in my home commented on the incredible aesthetic design of the Gryphon gear. But all of these details would be for naught if it weren’t for the equally impressive sound. Once the Gryphon Audio Designs tandem was powering and controlling my system, the sonic attributes of the components revealed themselves in much the same way as the physical and ergonomic design elements -- in stages. The first impression was predictable. I expect big solid-state electronics to have lots of drive, deep bass, and an immensely dynamic presentation. The Gryphons displayed all of these characteristics with a confident, straightforward character, easily meeting my initial high expectations. One of my recent musical references, Mickey Hart and the Kodo drummers performing "Daraijin" from Mondo Head [SACD, Sony/Red Ink 56111], provides ample opportunity for electronics to fall apart or shine, especially when driving large speakers capable of deep, impactful bass and crisp transient snap. The Wilson Alexandria X-2s were kept under tight-fisted control on this track, starting and stopping with agility. The deep bass whacks were centered and visceral, and as physically experienced as I’ve heard over TWBAS. The musical presentation sounded confident and fully rendered as the bass rolled through my room in waves -- it was clear that lots of refined power was on tap. This also resulted in a completely stable and refined soundstage. However, running through some favorite discs, I discovered there was much more to the Gryphon presentation than what is typically expected with expensive solid-state electronics. There was a tonally rich presence; a full palette of colors was available to make the music sound real, in this case just the opposite of washed out and thin. Listen to Siberian-born Konstantin Scherbakov performing Rachmoninov’s Piano Concertos No.2 and No.3[DVD-Audio, Naxos 5.110013] with the Russian State Symphony Orchestra and you might wonder just what type of amplifying component you’re hearing; the positive characteristics that are typically attributed to tube electronics simply ooze from these bipolar beasts. Piano had appropriate weight and body, the studio acoustic was delivered with dimensional accuracy, and scale was not a problem. It was almost as if I were biamping my speakers with a solid-state behemoth on the bass end and a tonally pleasing tube amp up top. Such was the best-of-both-worlds sound I was experiencing. Perhaps the most impressive aspect of the Gryphon Audio Designs combo was the palpable yet huge soundstage that developed in my room. The Wilson X-2 Alexandrias are, in my experience, without peer in their ability to cast a soundstage that's as believable as I can imagine. The Gryphon separates were able to exploit this capability fully, even beyond what I’d heard with previous amplifiers. Images were locked in place from wall to wall, though not possessed with razor-sharp edges; instead they were more lifelike than hi-fi, being full of body and dimensionally accurate at the same time. A fine example of this characteristic could be heard when playing back Holst’s The Planets as performed by the Royal Scottish National Orchestra (SACD [Naxos 6.110004]). The realness factor was incredibly high on "Mars, the Bringer of War," and as it must have sounded when originally recorded in the City Halls of Glasgow, Scotland. Finally I must say that, although it’s hard to objectively quantify, the elusive emotional connection with some of my favorite tunes grew by important margins. Eva Cassidy’s soulful performance of Sting’s "Field’s of Gold" (Live at Blues Alley [Blix Street 10046]) is heart-wrenching over any system, but it reached new depths of emotion as played through the Gryphon electronics. It was the clincher, the point at which I knew I was hearing audio electronics that bettered anything I had previously heard. Always do right. This will gratify some people and astonish the rest. In many ways the Antileon Signature Stereo/Sonata Allegro duo combines the most-sought-after qualities of the best electronics I’ve heard: the extension and control of the Halcro dm68 along with the purity of tone and natural presentation of the Lamm M1.2 Reference amps. It’s not that they walk a fine line between those two extremes of design, but rather tread both sides of the line seemingly at the same time. Perhaps the Gryphon separates are not quite as tomb-like quiet as the Halcros, and I could argue that the Lamms' musical cohesiveness is second to none in my experience, but the Gryphon combo put together a set of strengths that I once thought were diametrically opposed. It is the completeness of their performance that leads to the magic of their sound. Which leaves the inevitable question -- what is best? At this exalted level, there are no losers. For The World’s Best Audio System I’m only seeking out gear that holds the highest promise, so therefore I could argue that a number of electronics that I’ve heard could be called best. In the right system and to a particular listener, any of them could come out on top. But to leave it at that would be taking the easy way out. So perhaps the better question is this: If I had to quit auditioning amplifiers and preamplifiers today and keep one stereo setup for the duration of my days, which eletronics would I choose out of all those I’ve heard? The Gryphon Audio Antileon Signature Stereo amp and Sonata Allegro preamp, without a second thought. They’re the desert-island pairing I’d most like to be stranded with. And if that happens, don’t come find me anytime soon. ...Jeff Fritz jeff@ultraaudio.com Manufacturer contact information: Gryphon Audio Designs Industrivej 9 8680 Ry Denmark Phone: (45) 86891200 Fax: (45) 86891277 E-mail: sales@gryphon-audio.dk Website: www.gryphon-audio.dk Product: Gryphon Antileon Signature Power Amp One of the best amps you can buy. Features 40 high current bipolar output transistors with a flat frequency response to beyond 350kHz with unsuppressed built quality and finish. The sound is exceptionally warm, perfect stability in the delivery of power, can drive any kind of speaker. ANTILEON Signature Although we as quality conscious consumers would prefer to live in a world where product development is always guided by incremental, evolutionary improvement, most often it is driven by sheer economics. This years model is typically only a marginal variation on last years, in yet another thinly veiled attempt to separate the consumer from more hard-earned cash on a regular, seasonal basis. Among the few exceptions to this rule, Gryphon Audio Designs have never subscribed to the ritual of annual product roll-outs. On the contrary, you only hear from us when we have something truly new and original to say. This is the simple explanation of why the Gryphon Antileon Signature (Stereo and Monoblock) Pure Class A reference power amplifiers introduced in 2000 remained available for nearly a decade and a half. Because cynical planned obsolescence is never part of the Gryphon design concept, the Antileon Signature, like every Gryphon model, was engineered and built to remain at the forefront of audio performance for many years until we were able to offer a significant step forward. The Antileon Signature, like its predecessor, the original Antileon, was born a classic, establishing itself immediately in High End circles as one of the most acclaimed amplifiers of all time. Loyal devotees around the world praise its singular ability to maintain a firm grip on even the most demanding loudspeakers and reveal the innermost soul of any musical performance. First 9 pic are mine temporarily set up at home, others are random from web. Pictures show power amp still sitting in the bottom of transport crate. Photos:
  5. Not using time for someone else to try 1) 1x Entreq Konstantin series 1 2010 xlr balanced cables 1 metre pair New $4700 approx-NOW with current exchange rate. https://www.futureshop.co.uk/entreq-konstantin-serie-ii-xlr-signal-cable I have matching speaker cables in other listing.
  6. So what would it be a VPI?? I already have an RP9 with a jubillee and a MOBER linn lp12 with cadenza black but want to make a jump up if I can afford it.
  7. Genuine Boxes for freight so easy to send over east weight is 37 kilos each. https://www.lenehanaudio.com.au/speakers.html https://www.audiocircle.com/index.php?topic=95236.msg951583#msg951583 *Slight colour variation on 1 woofer , Spoke To Mike Lenehan and said nothing to worry about but if you wanted a new one would be $175 from Mike, Works perfectly I am guessing initial owner had in sunlight maybe. Grills never used in wrappers still and might need magnets but in new packaging and mint condition. Again Mike will fix up if required. The ML3 was designed with one specific goal in mind: Reproduce the input signal better than any Loudspeaker currently in production. MLT3 The task is Herculean of course and we are very well aware of many other such attempts both present and in the past. What size room will this Loudspeaker be built for? There is no doubt that an 8inch two way will drive a room of reasonable dimensions only! We're talking here of around 140 cubic mtrs | 5000 cubic feet with dimensions approximately 6mtrs x 8mtrs x 3mtrs. This is certainly a decent size living room. Due mainly to it’s PRC Xover and bottom vent design, the ML3 will drive a room as small as 50 cubic mtrs | 1700 cubic feet with no bass boom whatsoever! OK, but how much energy can an 8 inch two way produce? I mean, will they have enough steam in the bass for me? After all sometimes when I’m in the mood I like to get into some Rage Against the Machine or Tool or even Faithless. But at the same time I mostly listen at moderate levels to Jazz and Classical music. ML3’s have, we believe; state of the art bass reproduction. Rock solid into the mid 20hz region, their speed articulation and detail in the lower frequencies is the foundation for the rest of the frequency range. The ML3 power handling is huge! mainly because of the immense high power understressed Xover. We believe the ML3 is the closest thing to the universal Holy Grail of balanced high end design that is possible to currently achieve. In a room of approximately 130 cubic mtrs or 4500sq ft the ML3 will play flat to near 25hz in the listening chair! And no it won't boom in the bass and be impossible to set up like many others. You won't for instance have to set them up 6ft into the room to get a decent balance. In respect of imaging and soundstage depth the ML3's will throttle your senses. In our test room with the ML3’s set up 75cm (2.5ft) off the front wall and 2.75mtrs apart with a listening distance of 3.2mtrs image width is at least 2mtrs wider than the loudspeakers with 3 dimensional soundstage that goes back through the wall!! Belafonte live at Carnegie hall for instance is simply huge with tremendous image and dimensional stability. Detail within the soundstage we believe is currently SOTA (state of the art). Speed, bass slam and transient abilities are also currently at the leading edge of moving coil loudspeaker design. The reasons for the ML3’s intrinsic superiority are many, but the unique and world's first acoustical foam baffle design probably heads the list. This baffle makes the enclosure of the ML3's ostensibly invisible to the low and high frequency drivers. Try this: put your hands around your mouth like your going to yell at someone 200mtrs down the road, but flatten them out so they don’t cup like a cone. OK, now turn to someone and recite a simple phrase, then take your hand away and recite the same phrase. The difference in the sound of your voice is of course amazing . You were listening to distortion of course and it’s obvious; Yes? That’s why all speakers with baffles of any sort are inferior. ML3’s bass loading is proprietary, the port is huge and under stressed so that at high sound pressure levels it still supports the bass driver, in fact it’s close to linear at all drive inputs. Rock solid extended bass that does not produce a grungy type of incoherent bloom underneath the mid’s and high’s. The corollary here is phenomenal transparency that hitherto has only been the province of the best full range electrostatics but with punch weight and authority that the former has simply never been capable of. As with all the ML series the Xover is hand built and hardwired. After run in each Xover is handtuned to each host loudspeaker in front of a measurement microphone to a virtually zero tolerance. Each Xover is subtly different to every other ML Xover because each Loudspeaker itself is an individual unto itself. The end result though is imaging and soundstaging perfection. These Loudspeakers can pull off the ultimate disappearing act, no doubt. 1
  8. Price is each and the are the largest in the range 52 wide by 40 deep. x 3 units 5 months olds Component Podiums are all mid weight 28- 30 kilos each capacity and cost $608 each plus Vat plus import charges over $2000 pounds for all 3 landed or about $4000 Aussie All bought Nov 2019. I have matching speaker podiums to sell for upto 80-90 kilos speakers. http://www.townshendaudio.com Loads reviews on Townshend podiums and platforms. Multi award wining isolation for speakers and components, I am just reducing my system drastically. Pics from web and mine. Seismic Vibration Isolation Platform Ultra thin platform disappears under equipment Enhances clarity across the frequency range Delivers wider and deeper soundstages Improves bass definition Reduced muddiness and smear Makes transients clearer Link to the page: " The importance of vibration isolation " Especially designed to isolate individual components such as CD players, turntables, DACs, preamplifiers, power amplifiers, computers and streamers from deleterious vibration. The Seismic Isolation Platform includes a durable slim steel top plate that integrates unobtrusively under any hi-fi component. The acoustically dead constrained-layer damped plate combined with a Seismic Load Cell™ attached to each corner is the ultimate combination to absorb and isolate unwanted vibration, including structural, air-borne and that generated by the hi-fi equipment. The Seismic Isolation Platform is available in three standard sizes: Size 1 43x30cm (17×12") Size 2 48x35cm (19×14") Size 3 52x40cm (20.5×16") Platform working height is approximately 40mm (1.5") The Platform can be levelled by turning the adjustable Seismic Load Cell™. It is important to specify the weight of your equipment when ordering. Bespoke platforms are available for any size or weight of audio equipment. Seismic Platforms are available with seven different weight range capacities, varying progressively from less than 1 kg up to 200kg. The maximum load when using four ( 4) type "F" Load Cells is 200kg (440lb). For loads greater than this, simply add more Load Cells. Virtually any weight of equipment can be isolated. Each Load Cell is screw adjustable in height to allow for out of balance loads where the centre of gravity of the component is not near its geometrical centre. If the level balance cannot be achieved, then it is suggested to use additional Seismic Pods positioned under the Platform as necessary, to balance the load. For asymmetric components such as a valve (tube) amplifier with the transformers at the rear, different load capability Seismic Load Cells™ can be used to balance the load. We suggest, for reasons of ease of set-up and loads that are not equally distributed, that consumers always select the stronger Load Cell where two values overlap in the graph below. For example, when using four (4) type "C" Load Cells, the maximum supported weight should be equal to or less than 52.4 Kg. Seismic Platform type/load capacity, four (4) Loadcell configuration. http://www.townshendaudio.com/pricelist/Retail Pricelist Nov 2019 - Townshend.pdf \
  9. Speaker podiums 52 x40 and carry up 115 kilos each- blue colour on chart but can be adjusted too use from 45- 120 kilos roughly New as of November used once Size 4 are $2600 pounds new for 2 $5200 AUS plus $600 AUD freight and $400 import charges and taxes , so total $6200 landed, Very heavy- have boxes, I also have 3 component podiums to sell. All bought Nov 19.. http://www.townshendaudio.com Loads reviews on Townshend podiums and platforms. Multi award wining isolation for speakers and components, I am just reducing my system drastically. Pics from web and mine. Seismic Isolation Podium Designed as a range to accommodate any size and weight of speaker – standmount plus stand, floorstander or subwoofer – the Seismic Podium breaks the acoustic connection between the floor and the speaker, preventing the passage of deleterious vibrations both to and from the speaker cabinets. For a detailed explanation of why this is an absolute necessity before any speaker can perform to its true potential, read ‘Earthquakes on hi-fi’. Floated on Seismic Isolation Podiums, speakers are freed from the ever-present seismic activity and room/floor interactions that seriously degrade sound quality. The result is simply magical, allowing listeners to hear into their favourite music in a way they were never able to previously. When under your speakers, they will give you immediate improvements in overall sound by preventing speaker generated vibration from entering the floor and sound from entering your speakers. By eliminating the resonance between the speaker-cabinet mass and the floor, the sound will be noticeably clearer, much more tuneful, controlled and natural. Bass boom is significantly reduced and there will be a far larger, much deeper and wider sound stage. The sound becomes natural and more enjoyable. As many have already witnessed, the improvements are a revelation and a true pleasure – not least because severing the acoustic link between the speaker and the floor allows playback at more realistic volume levels without annoying the neighbours! Available in five standard sizes (or to special order to accommodate true behemoths), each Podium platform utilizes Townshend’s innovative ‘Captive’ Load Cell technology to provide a stable four-square footprint that extends well beyond the perimeter of the speaker cabinet. This also allows easy fine levelling adjustment of each Load Cell via a rotatable top cap while, on the bottom, is an adjustable foot to compensate for out-of true floors. The tough black steel platform has a large area treadplate that accommodates any shape of medium to large speaker or sub-woofer, with or without spikes. The Seismic Podiums are suitable for wood, tile or carpeted floors. Total speaker height is increased by only 20mm (3/4”). The Seismic Podium is the optimum solution for comprehensive speaker support on a grand scale. Whether as part of a professional installation or domestic one, the Seismic Podiums command ultimate support for your speakers and sub woofers, with no compromises. They will give you an unprecedented performance. Link to the page: " The importance of vibration isolation " Testimonials Great results from Townshend isolating speaker stands, flies in the face of conventional wisdom, but the improvement in sound quality, definition and sound-stage speaks for itself. Phil, UK. I've had a few hours to assess the seismic speaker platforms with the Avalon's and the difference is very revealing -- the improvement across the whole frequency range is substantial, allowing the musical performance to escape still further from the speakers. Terry, UK. Seismic speakers platforms work fantastically well with, exactly as your website promises, greater clarity from top to bottom, a wonderfully relaxed and musical sound, and an amazing sound stage. Add to that much less worry about disturbing our (very understanding!) neighbours, and I have to say you have sold me a truly sensational product. Many thanks indeed to all at Townshend audio! Frank, UK. Great results from Townshend isolating speaker stands, flies in the face of conventional wisdom, but the improvement in sound quality, definition and sound-stage speaks for itself. Phil, UK. I've had a few hours to assess the seismic speaker platforms with the Avalon's and the difference is very revealing -- the improvement across the whole frequency range is substantial, allowing the musical performance to escape still further from the speakers. Terry, UK. Seismic speakers platforms work fantastically well with, exactly as your website promises, greater clarity from top to bottom, a wonderfully relaxed and musical sound, and an amazing sound stage. Add to that much less worry about disturbing our (very understanding!) neighbours, and I have to say you have sold me a truly sensational product. Many thanks indeed to all at Townshend audio! Frank, UK. Great results from Townshend isolating speaker stands, flies in the face of conventional wisdom, but the improvement in sound quality, definition and sound-stage speaks for itself. Phil, UK. I've had a few hours to assess the seismic speaker platforms with the Avalon's and the difference is very revealing -- the improvement across the whole frequency range is substantial, allowing the musical performance to escape still further from the speakers. Terry, UK. Seismic speakers platforms work fantastically well with, exactly as your website promises, greater clarity from top to bottom, a wonderfully relaxed and musical sound, and an amazing sound stage. Add to that much less worry about disturbing our (very understanding!) neighbours, and I have to say you have sold me a truly sensational product. Many thanks indeed to all at Townshend audio! Frank, UK. Seismic Podium sizes and dimensions in mm: The Seismic Podiums are available with six (6) different weight range capacities, varying progressively from less than 5kg up to 200kg including the weight of the Podium base plate. For loads over 200kg, custom design Podiums that include 6 or more Load Cells are available. Virtually any weight of equipment can be isolated. We suggest, for reasons of ease of set-up and loads that are not equally distributed, that consumers always select the stronger Load Cell where two values overlap in the graph below For example, when using four (4) type “C” Load Cells, the maximum supported weight should be equal to or less than 42.4 Kg, including the weight of the Podium base plate. Seismic Podium type/load capacity, four (4) Load Cell configuration. News Good Vibrations - Hifi-choice 5 stars - Recommended product “The way it removes the speaker’s interaction with its surroundings is mind blowing, bringing clarity to the entire frequency range that enables it to communicate more effectively with the listener. You haven’t truly heard how your speaker can perform until you’ve placed it on one of these. Enthusiastically recommended.” Lee Dunkley – Hi-Fi Choice [ Full review ] Product of the year 2016 awarded by "the ear" “So what do Seismic Podiums do for sound quality? If I said “everything” you wouldn’t believe me, but the answer is not far off. They dramatically increase low level resolution so you can hear more detail, they clean up the bass like you wouldn’t believe and the improve dynamics and speed.” Jason Kennedy [see full review] Seismic Podium, HiFi+ Accessory of the year award 2016 “The Editor and two other HiFi+ reviewers already use Podiums under their loudspeakers, and speaker companies are taking note, too. This is a real loudspeaker game changer and could spell the end of loudspeaker spikes for many listeners.” Full award article as well as a full product review in January’s edition downloadable here: http://www.nextnewsstand.com/products/hi-fi-plus/hifi-131/ http://www.townshendaudio.com/pricelist/Retail Pricelist Nov 2019 - Townshend.pdf
  10. Pick up easier but can ship in original box. RRp was upto $6999 new Acoustic Research 80-X Subwoofer 500w RMS 12" Walnut Finish In very good condition, I have 2 rels on duty currently so this is overkill, Its a big heavy beast. This is powerful but subtle at the same time. When setup in the room correctly you won't know it's there until it is required in the musical passages. Has XLR/RCA & High Level Inputs Volume/Crossover & 0-180 degree Phase controls Front firing Port It has a couple of very small surface scratches but you have to look hard to see them. I have the original packaging so can ship at buyers cost and risk. Price is very firm. Specs as per below: Featuring Acoustic Research`s latest groundbreaking innovations in premium hi-fi and home theatre loudspeaker technology distilled from over 50 years of experience, the all-new 80 Series has reached a genuinely world class standard of audio enjoyment that will satisfy even the most demanding of audiophiles. Features Precision-built, robust cabinet commandingly stabilizes the subwoofer during long strokes, reducing resonance and distortion High-efficiency Class D amplifier featuring MOSFET operates extremely quickly which ensures exceptionally high clarity, powerful output and extra low distortion Light weight yet extremely rigid 12-inch aluminum cone ensures accurate motion at high power levels and continuous heat dissipation Robust die-cast aluminum chassis provides a sturdy base for the magnet structure and facilitates the maximum excursion of the cone Large motor system with 4-layer, 2`` diameter voice coil and 145mm magnet to reproduce outstanding control and efficiency Linear suspension with the durable CONEX spider perform exceptionally well even under the most extreme operating conditions Cabinet design: front firing front ported Drive unit: 1 x 12 in. aluminium cone More Info Frequency response +/- 3 dB: 14Hz-240Hz Power: RMS 500W Dimensions (H x D x W): 455 x 446 x 417 mm Weight: 30.9kg Photos: Advertisements without photos of the actual item will not be approved.
  11. Basically brand new in box. Only used it for a few weeks. Bought from Scumbag and didn't even open box, removed all HT system from rack so never needed. Looks brand new. Extra Info: A very good cable for LVDS / I2S use. A good length too. Many people advise that you shouldn't use any longer than a 1m cable for LVDS but in reality you can easily go to 2m or longer depending on the spec' on the cable. Manufacturer Notes: "Ever wanted to have an HDMI cable just for your audio needs? Harmonic Technology is proud to introduce the Magic Audio (only) OFC HDMI cable that has been designed for your optimal audio transmissions – such as between PS Audio Wave transports and the PS Audio Wave DAC." - Harmonic Technology https://www.hifizine.com/2011/12/harmonic-technology-magic-audio-hdmi-rev-1-4a-high-speed-cable/ https://www.thecableco.com/magic-hdmi-cable.html Photos:
  12. AVID PELLERE Phono stage 2 box with seperate power supply Extra Info: The equipment is 18 months old and all is in perfect working order and has hardly been used comes with original boxes. https://hifipig.com/avid-hifi-pellere-phonostage/ E
  13. Esoteric E-03 dual input phono stage- run and listen to 2 turntables from one phono stage- Esoteric sound and build. Very Good one small scratch on top No longer required- Krispy sold one for $4000 a week or two ago All original packaging & Manual - (power lead missing will supply standard one.)
  14. Further information: Connects to an external DAC via USB. Antipodes in NZ suggested using latest operating system but former owner said he had a later unit using this and preferred the original (see SNA ad) so I kept it. A few very light scratches/scuff marks on top of the box that I have tried to show in photo. Selling as I don’t listen to a streamer enough or via headphones much and I have several other sources for vinyl and digital in the main system. Reviews include Positive Feedback: https://positive-feedback.com/audio-discourse/audio-ramblings-the-antipodes-dx-music-server/ and John Atkinson in Stereophile: https://www.stereophile.com/content/antipodes-dx-reference-music-server and an interview by John Darko: https://darko.audio/2015/05/antipodes-audio-dx-music-server-review/ Photos: from previous advert.
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