Last Ultimate Session of This Summer. There, at the foot of the magnificent Serralves Gardens, in Porto
This has been a hesitant start to summer, with weather that can’t decide whether to move into summer or revert to winter, with temperatures brushing 90 degrees Fahrenheit or occasional rain. It was a wet summer morning in Porto.
Before we enter the Silly Season, Ultimate Audio Porto served up another high-end tasting menu, featuring one of the best symbioses I know in the audio world: Gryphon amplification powering Kroma Atelier speakers.
On the digital sources side, the honors went to portuguese craftsmanship, with the Cinnamon Galle DAC and the Innuos Statement NG server and PSU, assisted by Silent Angel Genesis GX and Bonn NX clock and network switch. On the analog side, a Nippo-American coalition, with a Luxman PD-151 MkII deck and tonearm, Hana Umami Blue cartridge, and MoFi MasterPhono phono stage. Power treatment was also handled by Gryphon, with the Powerzone 3 power purifier, and cabling by Siltech and QSA Lanedri.
The Gryphon Diablo 333
This integrated amplifier can be ordered in its simplified form as “just” an analog amplifier, or with optional phono and DAC modules, thus solving the “problem” of additional boxes.
The predecessor to this 333 model, which was discontinued upon its release, was the 300, a best-seller. The 333 is an amplifier with 333 watts per channel at 8 ohms, doubling the power to 666 (the number of the Beast!) at half the impedance, and delivering 1100W at 2 ohms, when your speakers are being stubborn and need to be reined in!
The setups I have had the opportunity to hear with Gryphon amplification usually left me awestruck (I am reminded, for example, of another fabulous marriage between Gryphon and Kroma Atelier, in this case the Apex monoblocks with the Mercedes towers at the Ultimate Sessions Extreme’23).
The Kroma Stella
These 3-way speakers, with Purify woofers and midrange drivers, and Mundorf neodymium AMT tweeters, have cabinets made of Krion (a composite of resin and aluminum trihydrate, a non-conductive and non-magnetic material, according to Porcelanosa, Krion’s creator). This material is known for its use in bathrooms, kitchens, or building facades. Each Krion panel used in the construction of these cabinets is 12mm thick.
The sonic signature of this set reminded me of something between the nearly colorless sounds of sets with Rockport or Stenheim speakers, but in my opinion leaning more towards what we have come to call “organic,” and less towards sterile.
These speakers rest their 43kg weight and 1.15m height on IsoAcoustics feet.
The devilish control over the bass immediately catches the eye (or ear). The voices sounded articulated and with a natural tone, and the highs were as clear as fresh water. The soundstage? If the Ultimate’s auditorium were wider and deeper, the “size” of the music would be greater. Listening outside the ideal listening position was surprisingly immersive (which doesn’t always happen). In the sweet spot, the sound image seemed naturally perfect to me.
Sometimes, I find myself forgetting what I came to an audio event to do: capture to later report. What I heard, saw, and felt. On some occasions, I get lost in myself, just enjoying the sensations that listening to music on certain equipment combinations allows us. It’s when I forget where I am, what I came to do, and my role, just to be there enjoying.
What I Heard?
“St. James Infirmary” by Baba Blues. This Mundorf AMT tweeter is truly on the edge of the best you can have. Stretch it a bit more and it would be too much.
“Purple Rain (Acoustic)” by John Adams. “Summertime” by Patricia Barber. This bass… well, This bass is something else. It’s as if there was an attempt to create something with perfect balance between excess and restraint, but at the last moment, a tiny hint of excess was given. And in exactly the right measure. This bass really moves me inside, literally moved the hair I don’t have: “Se Masticó la Tragedia” by Ultra High Flamenco.
It is audiophile jargon to call the bass physical. Truly physical bass: “You and Me” by Wynton Marsalis. Here we can also add texture and kick. Another example?: “Drum Solo” by GOJIRA.
And lungs? “The Sound of Silence” by The Ghost of Johnny Cash.
It may not be what stood out the most at first glance, but the naturalness of voices and acoustic instruments is delightful. “Fast Car” by Frau Contrabass.
“Connecting the dots.” An expression that fits this set like a glove. All the musical geodetic markers are there. This set makes them a logical and meaningful whole: “Alternate One” by Clark Terry, Dizzy Gillespie, Freddie Hubbard & Oscar Peterson.
And the tweeters clarity, detail and texture? This Mundorf AMT seems to have been made for this trumpet.
“With All My Love,” a song by Melanie De Biasio that I discovered at an Ultimate Audio session. I’m glad I discovered it. And I’m glad I heard Melanie De Biasio again here, because I heard her at her best, thanks to the happy marriage of Kroma speakers with Gryphon amplification.
Continuing in the sentimental vein, “Beat” by Tingvall Trio and “Trem Das Onze (Multishow Ao Vivo)” by Caetano Veloso and Maria Gadú.
This was a wet summer morning in Porto.
But how well the Stella marries with this Diablo. Wet marriage, blessed marriage.
