poseidon manual aug. 15.qxd

Owners Manual
Version 1.0 August 2004
The Gryphon Poseidon
Reference Speaker System
Content:
The POSEIDON Adventure
The Secret History of
The
Gryphon
Reference
Standard Loudspeaker System
Words by Flemming E. Rasmussen, CEO and
Founder of Gryphon Audio Designs
Nearly two decades have passed since the first Gryphon
saw the light of day. It wasn't
a case of planned parenthood,
more an inevitable love child the fruit of a long-standing
love affair with music and
audio.
Gryphon embarked on a long
journey back then, made long
not by detours, but simply
because our destination is so
far away. I have always believed that we experience music
with our hearts as much as
with our ears. For me, the ultimate test is very simple - the
music must reach out and
touch the heart. Looking back
over those twenty years, I
must confess that Gryphon
has always developed the
audio products that I personally needed and wanted.
Nothing was ever built to
meet a demand defined by
market research. Some might
find that arrogant and perhaps it is, but I prefer to see it
as an honest approach, while
accepting that not everyone
shares my point of view.
Fortunately, the passing years
have proven that there is a
sufficiently large group of likeminded individuals around the
world who have come together in this common quest.
I would like to take this opportunity to personally thank all
of you who have shared this
journey with me.
Down through the years,
Gryphon has expanded from a
single Head Amplifier to
encompass the full audio
spectrum with the definitive
music playback system. This
didn't happen because we can
do everything ourselves, but
because we recognize quality
when we encounter it and
have the ability to assemble a
team of dedicated specialists
for each new project. The
Gryphon company - like its
products - is greater than the
sum of its parts.
There is certainly a family
resemblance
across
the
Gryphon range and by that we
mean more than mere technology. We like to think that
Gryphon is not perceived as
Class A amplifiers, upsampling
CD players or silver cables,
but more as a degree of quality, a sense of "rightness" that
brings it all home for you. And
you don't reach that place by
following your ears, only by
following your heart.
Flemming E. Rasmussen
Ry , Denmark August 2004
5
In responding to queries as to
why Gryphon took the major
step of expanding into the
field of loudspeaker design,
the temptation is to take the
easy way out with a flippant
reply like "Because it's there."
But the simple fact is that,
having earned a global reputation for unsurpassed excellence in amplification, it was a
natural evolutionary move to
broaden our scope and turn
our attention to the other links
in the audio chain.
eginning with source components, Gryphon designed the
world's first single-chassis CD
player with onboard upsampling. The third generation of
this innovative technology, the
Gryphon Mikado, has won
numerous awards around the
world. The next logical step
was to apply the uncompromising Gryphon take-no-prisoners approach to the final link
in the chain. But this decision
was by no means made on the
spur of the moment.
Steen Duelund
Lars Matthisen
In fact, the Poseidon adventure began nearly 15 years ago
with a chance encounter between
Gryphon
founder
Flemming E. Rasmussen and
Steen Duelund, a Danish mathematician who has dedicated
his professional life to loudspeaker theory.
Duelund's theories on constant phase in crossover networks can be summed up in a
single statement: "All drivers
must be in phase at all times
at all frequencies." Following
this theoretical "Eureka," the
hard part then becomes
making that happen in a real
room with a real loudspeaker.
Initially on a strictly informal
basis, an in-depth exploration
was undertaken that would
take full advantage of
Gryphon's assembled expertise and extensive experience
in design and manufacturing
to transform Duelund's theories into real-world products
with scant regard for such
minor details as pricing, parts
availability, prevailing attitudes and preconceived notions.
Imperfect Drivers
The first step was to acknowledge that the greatest challenge facing loudspeaker
designers was the simple fact
that dynamic drive units are
by nature fundamentally flawed and compromised. Many
driver designs defy all sound
design principles, because
they are the result of pennypinching exercises under
heavy market pressure to deliver "acceptable" performance
at the lowest price. There is
little motivation to allocate
resources to making drivers
that are truly the best that
they can be.
In order for the mission, now
assigned the working title
Project 30, to succeed,
Rasmussen and his hand-picked design team began from
scratch with driver design,
literally building by hand drivers with baskets that did not
introduce compression, handmade multi-laminate cones,
exotic home-brew coatings,
adjustable wire suspension to
replace the conventional spider, heavy-duty magnetic systems, ventilated pole pieces,
machined phase plugs and
special surrounds to optimize
5
the transition between cone
and baffle. All edges were
beveled for a deliberate aerodynamic profile. Double wiring
was employed on the cones to
ensure perfect symmetry. The
list of breakthroughs goes on
and on.
Every aspect of driver design,
assembly and function was
thoroughly investigated without prejudice and with scant
respect for received wisdom,
which often proved to be illfounded dogma formulated by
individuals promoting their
own specific agendas.
The end result was drive units
with extremely low Q, high
power handling, no dynamic
compression and a linear pistonic range that pushed back
the limits of driver design.
In order to live up to the
uncompromising design goal
of perfect phase all the time at
all frequencies, the enclosure
incorporated a concave curved front to form a direct angled, time-aligned system with
identical distance from the listener to the acoustic center of
each driver.
The finished loudspeaker can
only be described as an open
window, utterly transparent to
the original recorded event
with equally remarkable dynamic headroom that re-creates
the true power and full weight
of live music, both in details
such as a drum rimshot and in
the effortless expansion of an
orchestral crescendo in a
large-scale symphonic piece.
Gone were the sluggishness
and "whitewashed" uniformity
typical of loudspeakers with
complex crossovers where
60% of the components are
dedicated to the thankless
task of compensating for the
basic imperfections of inferior
drivers. In such speakers, the
crossover becomes a virtual
"black hole," sucking up energy instead of conveying it to
the drivers. The result is a
neat and tidy musical presentation with everything apparently in its place and a listening experience that quickly
becomes tedious and uninspiring.
At this stage, a respected
German audio reviewer visited
Gryphon. In the Gryphon listening room he auditioned
amplifiers using the usual
reference loudspeakers, a
well-known American fullrange
system.
Suitably
impressed with what he heard
he happened to notice some
large enclosures concealed
beneath a sheet off to one
side. His curiosity aroused, he
persuaded Flemming to hook
them up for an off the record
listening session with the clear
understanding that this was
not a commercial product.
To make a long story short,
the reviewer had a memorable
experience and rumors quickly
began to circulate about a
mystery speaker that Gryphon
were keeping to themselves.
Despite the unique quality of
the project, Rasmussen decided not to pursue it as a commercial venture, using the
loudspeakers only as a valued
tool in the company's electro5
Gryphon Cantata
nics development work. The
decision was based on the fact
that the many hand-tweaked,
non-standard
components
involved made it a slow,
expensive and exceedingly
complex system to build. Too
many of its geeky, off-the-wall
solutions were conceived and
executed without regard for
the real world problems of
consistent, day-to-day production. Moreover, this was at
a time in the High End industry when electronics manufacturers and speaker makers
politely played in their own
sandboxes, rarely invading
each other's turf. Today,
things have change considerably.
The Cantata Reference
Monitor System
By the millennium, Gryphon
had become firmly established
as a major international player
with a range of amplification
components and CD players
widely regard as among the
very best in the esoteric world
of High End audio. Gryphon
innovations included the world's first single-chassis CD player with onboard upsampling
and critical system enhancements such as the acclaimed
Exorcist, the world's first system demagnetizer, as well as
a range of cables and accessories.
Still, demand for a Gryphon
loudspeaker continued to
grow, as distributors, dealers
and enthusiastic owners wanted to share in the great
secret. Electing not to fall into
the same trap as so many
others who rush to market
with a "me, too" loudspeaker
system in an attempt to cash
in on the goodwill of an established electronics brand
name, Rasmussen decided to
address an unacknowledged
problem that he had frequently observed: Most audiophiles
select loudspeakers that are
simply too large to work well
in their room and wind up
fighting a losing battle against
room acoustics with inadequate tools. Rasmussen already
knew what they would have to
learn from bitter, expensive
experience: Not even the best
amplifier and room treatments
can turn things around once
you have installed the wrong
speaker in the wrong room.
(Remember, room correction
systems do not correct rooms,
they can only change amplifier performance.)
Driven by his decade-long
vision of a loudspeaker that
would finally get things right,
Rasmussen conceived the
Cantata to set new standards
for sonic performance in a
two-way system of modest
dimensions.
With
Steen
Duelund's theories as inspiration,
acoustician
Lars
Matthiesen was assigned the
task of translating those theories into workable, practical
solutions. Rasmussen and the
Gryphon design team created
the product's conceptual and
physical framework, while
Rasmussen and Gryphon
chairman Valdemar Boersting
were responsible for final voicing of the Cantata. Exploiting
Gryphon's home court advantage in the field of electronics,
it was natural to incorporate a
high tech active Q control, a
5
concept introduced in the
1950's by Linkwitz and
Greiner, but never successfully
implemented.
Brainstormin
The Cantata received a rave
reception from press and
owners alike, winning numerous
awards,
including
Product of the Year from UK
magazine HiFi+. Gryphon was
immediately accepted as a
loudspeaker
manufacturer
and praised for tackling the
endeavor with innovative flair
- and no small measure of
bravery, as well.
With no false modesty,
Cantata is Gryphon's candidate for world's finest loudspeaker - if size matters - and was
released first because it was
felt to fill the greatest need.
Poseidon Tweeter
Poseidon bass driver
The Return of Project 30
The development and, in particular, the actual production
of Cantata with its innumerable tailor-made components
gave Gryphon valuable experience and the courage to revive and complete Project 30.
Auditioning confirmed that the
system had been well ahead
of its time. Equally important,
Gryphon's accrued experience
and good working relations
with driver manufacturers
now meant that the project
could be fully realized to an
even higher standard.
Special drive units would still
be required, but Gryphon's
unquestioned High End stature and the success of the
Cantata attracted the interest
of an internationally respected
Danish driver manufacturer
willing to build drive units to
Gryphon's strict specifications.
Jensen would manufacture
capacitors and inductors to
Gryphon's specifications. A
German manufacturer supplied a surround that matched
the cone geometry. The list of
specialists involved continued
to expand.
As was once the norm in the
High End, Gryphon is still run
by enthusiasts able and willing
to take risks and push back
boundaries, not because the
marketplace demands it or
because anyone asked them
to, but out of sheer curiosity
as to what awaits them in the
uncharted territories where no
one
has
gone
before.
Consequently, Project 30
began to grow in scope and
ambition.
Flemming E. Rasmussen once
said. "The reason we make
products is to finance our
research and development.
This is our true passion."
In the ten years that have
passed since the original
Project 30 prototype, there
have been other positive
developments that provided
much need encouragement.
High End audiophiles are raising their standards as they
come to appreciate that natural, undoctored, realistic
sound must always maintain
the integrity of the musical
performance without focusing
narrowly on details and without losing sight of the big
picture. A loudspeaker must
not be an instrument with its
own voice or an interpreter,
only a neutral conduit that lets
us hear what is there, no
5
more and no less, for better or
for worse.
Prototype cabinet
This is the prime source of the
inspiration and motivation
that led to the ultimate loudspeaker system that would
soon be known as the
Gryphon Poseidon.
The Birth of Poseidon
Where Cantata is for those
times when size matters, the
Poseidon was to be the ultimate Statement, the definitive
full-range system to be partnered with equipment and a
room truly worthy of such a
loudspeaker.
Unless the baffle is curved,
distance to all drivers can not
be equal.
Unique transportation system
offers extreme protecting
during transport
The Poseidon is a four-way
loudspeaker system consisting
of four separate enclosures,
all 199 cm tall, coincidentally
(?) the same height as Mr.
Rasmussen himself. The distinctive grill design is courtesy
of Sonus Faber of Italy and is
used with their kind permission.
The imposing cabinets are
built just down the road from
Gryphon by a woodworking
company specializing in custom design work for recording
studios and musicians. Their
staff includes several musicians, who combine a perfectionist approach to their craft
with an open mind to untraditional solutions. Rasmussen
frequently tested the limits of
their open-mindedness as he
specified a time-aligned baffle
curvature, side panels that
come to a point midway and a
complex combination of MDF,
plywood, acrylic, aluminum,
PVA, Teflon, steel, bitumen,
felt, elastomers and Nappa.
The very different characteristics of these materials make
combining them in a single
seamless structure a formidable task, but the specific mix
was essential in preserving
the structural and aesthetic
integrity of an enclosure on
this grand scale.
Available side panel options
are limited only by the customer's imagination and, possibly, his bank manager.
However, requests may not
include rain forest wood or
any endangered, restricted or
illegal materials.
Active Bass
Each bass tower houses eight
custom designed 8" drive
units and a built-in Gryphon
Class A/B power amplifier
capable of 1,000 Watts continuous output. For extended
headroom, peak power is
approximately 4,000 Watts or
4.5 horsepower. The amplifier
module incorporates sophisticated Q control circuitry to
fine-tune bass response and
additional features to ensure
ideal room interface. The bass
remote control allows adjustment of bass level, Q, low cut
and other parameters from
the listening position. The
bass module offers standby
mode and provides effective
driver protection via a comprehensive non-invasive system that monitors all functions more than 100 times per
second.
In addition to the obvious
advantages of an active bass
system with purpose-built
amplification designed for
optimal operation with the
5
Poseidon passive x over
Baffel with inside funnel prevents compression of driver.
drive units and with the array
of user-adjustable parameters, active bass also allows
the user to select a separate
amplifier for the high/mid
towers without having to
worry about the huge power
demands of the massive
Poseidon bass system. The
bass system crosses over to
the mid/high tower at 200 Hz.
P
a
s
s
i
v
e
Midbass/Midrange/HighFrequency Towers
The narrower upper-frequency enclosures complement the
design of the bass towers.
The nine drivers are laid out in
a symmetrical vertical array
with four 5" Gryphon midbass
drivers (two at the top and
two at the bottom) and four of
the 5" Gryphon midrange drivers originally developed for
the Cantata (two directly
above and two directly below
the central high frequency driver).
The
legendary
ScanSpeak Ring Radiator
high-frequency driver is the
system's only standard driver,
although the 1 kg metal housing, designed by Gryphon for
perfect time alignment and
minimal diffraction, makes
this version far from standard.
kHz. The upper-frequency
tower is very efficient, 94 dB
for one Watt at one meter,
with impedance that never
dips below 4 Ohms, making
the passive tower an extremely amplifier-friendly load.
While it does not require huge
quantities of power, the
Poseidon deserves to be
mated with finest possible
amplifiers. Anything less will
be mercilessly revealed. In
return, the very best will shine
in all its glory.
The Poseidon system's lowfrequency cut-off is roomdependent and is also a result
of the user-selected Q setting,
but useable room response
from the system's 34 drivers
will cover the range from 16
Hz to 40 kHz.
The radical passive crossover,
based on a large number of
custom components, ensures
ideal phase at all frequencies,
a perfect result achieved by
no other loudspeaker than the
Gryphon
Poseidon
and
Cantata.
The nine drivers share the
workload from 200 Hz to 40
5
Owner's Manual
When You Have Purchased
the Poseidon System
Your Gryphon dealer delivers
and installs the Poseidon system. His staff has been meticulously schooled in the proper unpacking of the system
and in the use of the special
Gryphon laserguide for precise alignment.
Your dealer will return after a
two-week break-in period for
final adjustment.
After three months, your dealer will come back for a final
check-up.
This service is included in the
price of the Poseidon system
and is crucial to optimizing
system performance.
The Listening Room
This section outlines ideal
room dimensions and speaker
placement. Specific acoustic
conditions may permit some
deviation from these recommendations, but in most
cases, Poseidon will not be the
ideal choice for a room of less
than 40 - 50 sq.m.
Poseidon's curved baffle is
designed so that the sound
from all drivers integrates at a
point 5 m in front of the high
frequency driver. (Think of the
drivers as rows of spotlights
all angled to illuminate the
same spot.) The speakers
must be placed not less than 2
m away from any wall behind
them. The listening position
must be at least 2 m away
from any wall behind it. This
means that the room must be
at least 9 m long.
The outside tower on each
side must be at least 1 m from
any side wall. The outside
towers on each side should be
at least 4 m apart.
This means that the room
must be at least 6 m wide, for
total room dimensions of not
less than 9 x 6 meters or 54
sq.m.
We have achieved excellent
results with Poseidon in rooms
up to 120 sq.m. Note: plush
furnishings provide high
acoustic damping, requiring
greater system output.
Poseidon was developed in a
70 sq.m. room with typical
acoustic damping corresponding to most modern residential spaces. We do NOT
recommend room treatments
for added damping behind the
loudspeakers. Some damping
behind the listening position is
recommended, especially if it
is close to the rear wall.
Diffusion is generally a far
better acoustic solution in that
it removes unwanted reflections without restricting dynamics or exerting excessive
influence on tonal balance.
Because Poseidon's design
requires angling the towers in
towards the listener, the influence of side walls is minimal.
The curved baffles also reduce
reflections from floor and ceiling. If the ceiling is low, a diffuser placed at the point of
the first reflection may be
useful. A rug on the floor between listener and speakers
will help. The conventional
coffee table in front of the listener is typically the source of
most problems with unwanted
reflections.
Because of its design and
comprehensive adaptability,
Poseidon is nowhere near as
5
demanding as other large speakers. However, because of
Poseidon's extreme phase
linearity, you will discover that
it is more revealing than any
other loudspeaker.
Be prepared for a radical revision of everything you had
previously learned about loudspeakers or heard from them.
The Poseidon system doesn't
wage war against your room;
it works with it in a perfect
symbiosis.
Taking Delivery
This section and all other text
in red describe tasks to be
performed by the dealer - perhaps with a little help from
you.
The Poseidon comes in 5
boxes:
2 x wooden crates with the HF
towers
2 x wooden crates with the
Bass towers
1 x cardboard box with 2 x
Passive crossovers, mic. parts
and this manual.
Unpacking
Do NOT try to lift a tower out
of the crate. Instead, ALWAYS
remove the crate from around
the tower. The specially built
Poseidon crates can be taken
apart by removing the top and
sides, leaving only the bottom
and the tower.
Special top and bottom transport panels with vibration
damping are attachedf to the
speakers. NEVER touch the
drivers and NEVER let the
tower rest on anything except
its transport panels.
Lift the tower carefully by the
handles in the transport
panels and move it to its
intended position, making
sure that the tower's bottom
is facing the listening position
and its front is facing up.
Lift the bottom transport
panel from the floor and place
a cushion under the lower end
of the speaker so that the
transport panel no longer touches the floor. Remove the
screws in the bottom transport panel while the speaker
rests on the cushion.
Remove the transport panel
and attach the feet to the bottom of the speaker. With a
firm grip on the top transport
panel, carefully raise the
tower to an upright position.
CAUTION! Poseidon is a very
heavy loudspeaker and should
only be moved by 3-4 people
to avoid damage or injury.
When the speaker is upright,
it can be turned and placed
approximately at the intended
position. The top transport
panel can be removed later.
Until everything else is finished, it is a good idea to have
the panel to hold when
moving the speaker.
Repeat the above for all four
towers.
The crates can be left unassembled for flat storage or reassembled with the smaller
crates inside the large ones.
Make sure to keep all parts.
Set-Up
Poseidon is designed to form
two hemispheres - one horizontal and one vertical. The
vertical hemisphere is defined
5
Connecting the black alluminium feet to the Acrylic baseplates.
Pay attention to use the correct lenght of screws.
Do not force screws into the
holes as the thread pushed
into the cabinet.
by the curvature of the front
baffle.
Install the system with the
Bass towers in the middle and
the HF towers nearer to the
side walls. The HF tower
should be placed as close to
the corresponding Bass tower
as their bases will allow. All
cabinets must be angled in so
that they are aimed at the
same point (ear level for a
centrally placed listener), forming a curve in front of the
listener. The HF cabinets on
either side will be angled in
more and, therefore, be
slightly closer to the listening
position. Otherwise, the distance to the HF towers would
be greater than to the Bass
towers in the middle.
PROPER PLACEMENT IS CENTRAL TO THE POSEIDON
CONCEPT AND REQUIRES
PATIENCE AND ATTENTION.
TRADITIONAL WISDOM IS
NOT THE ANSWER HERE.
The difference between the
merely outstanding and the
ultimate is a fine line.
5
5
Precision Laser Alignment
The Gryphon Laser Guide affectionately known as the
Cyclops - consists of two
parts: a base and a laser pointer.
Remove the 4 set screws in
the corners of the high frequency driver's alloy baffle. Be
careful to avoid scratching the
anodized surface.
Mount the base here with its
own 4 screws. Spread the
strings of the grille front to
insert the laser pointer in the
base. When completely in
place, the laser pointer will
light up.
DO NOT LOOK DIRECT INTO
THE LASER AS IT MAY
SERIOUSLY HARM YOUR
EYES.
Place a piece of light- colored
cardboard at the listening
position at the height of a
typical listener's head. Turn
the HF tower until the laser
pointer hits the target exactly.
Mark this spot on the cardboard with a pen.
Repeat for the other HF tower
so that the laser hits the same
spot. Remember to replace
the set screws after using the
laser guide. The laser guide is
the property of Gryphon and
is on loan to your dealer so
that he can optimize initial
set-up and, as needed, later
readjustment. For a wider
"hot seat," the loudspeakers
can be aimed at a focus point
somewhat further back than
the central listening position,
but the focus point must always be in front of the wall
behind the listening position.
med by the Laser Guide,
unpack the two crossovers.
Carefully remove the perforated frame at the rear of the
HF tower. Do NOT bend it.
Attach spikes under the
crossover and push the
crossover into the opening at
the rear of the HF tower. It is
a tight fit, so proceed slowly
and expect some resistance.
Push the crossover all the way
in, making sure that no cables
get squeezed.
When the crossover is all the
way in and its spikes are on
the floor, attach the big plug
from the rear of the HF tower
to the socket on top of the
crossover. Do not replace the
perforated frame until everything has been properly set up.
If you need to move the tower
slightly at this time, it may be
necessary to remove the
crossover so that the spikes
do not damage the cabinet or
the
floor.
Be
patient.
Remember, you are assembling the ultimate loudspeaker
system.
We know that the Poseidon
system is huge, but it is a precision instrument/transducer
that is beyond comparison to
conventional loudspeakers
When the loudspeakers are in
the proper position as confir5
Introduction
to
the
Controls and Features
Connections
2 x AC power cords **
The system is supplied with 6
cables.
*The two amplifiers are identical, but only one - the Master
amplifier - incorporates the
amplifier control module. The
data cable allows data
exchange between the Master
and Slave amplifiers.
2 x Bias cable - Connects between Bass amplifiers and HF
crossover
1 x Data link - Connects between the Bass amplifiers
1 x Display cable with the display connected - Connects to
the *Master Bass amplifier.
** The Poseidon is delivered
in a Voltage version to match
local mains requirements.
5
Please do NOT use any voltage converters or AC filters. We
advise against sharing connections with Air Conditioning
systems or large computer
systems.
Display Features
* Displays current Q setting
* Displays current Volume setting
* Bass tower Mute ON/OFF
Indicator
* Low Cut ON/OFF Indicator
* Display OFF, indicated by
blue LED on display module
The Master Amplifier module
can be controlled using the six
buttons on the module or via
the remote control.
The display indicates the last
activated function. If you wish
to view another function, you
must activate the new function. For example, if the display shows the current volume setting and you wish to
view the current Q setting,
press a Q button (Up or
Down).
The display will now show the
current Q setting.
Press Q Up or Q Down again,
if you wish to change the Q
setting.
Display OFF is activated by
briefly pressing VOL Up and
VOL Down at the same time.
DISPLAY ON is activated the
next time any button is pressed.
The current settings are stored in the processor's
EEPROM. When the Master
amplifier is turned on after
main power off, these settings
will be automatically activated.
Interface and Power Up
Connect the 7.5 m grey Data
Interface cable (9-pin D-SUB
plug at both ends) between
the Master and Slave amplifiers.
*
Connect the display module (2.5 m cable) to
the Master amplifier via the
16-pin Binder socket on the
rear panel of the Master
amplifier.
*
Connect a crossover
bias cable between the left
Bass tower and the passive
crossover of the left HF tower.
Connect the other crossover
bias cable between the right
Bass tower and the passive
crossover of the right HF
tower.
*
Connect left and right
interconnects from the preamplifier to the corresponding
bass module.
The bass modules
accept both balanced (XLR)
and single-ended (phono) signal connections.
NOTE! Before turning
on the bass modules for the
first time, To indicate which
type of connection you are
using, select XLR or phono
input with the switch on their
rear panels. If you ever need
to change this setting, ALWAYS turn off the bass module
before changing this setting.
The selected input type
(XLR or phono) is throughput
to the corresponding output
on the rear panel.
5
*
The
Auto
Power
ON/OFF switch on the rear
panel of the Master amplifier
activates the Automatic TurnOn function.
*
If you select "Auto
Power OFF", the two bass
towers will turn on immediately when the MAIN POWER
ON/OFF switch is turned on.
*
If you select "Auto
Power ON", the bass system
enters Standby when the
MAIN POWER ON/OFF switch
is turned on and remains in
Standby until a preamplifier
signal greater than 6-8 mV
RMS is detected.
The system will then remain
powered up as long as a minimum signal strength of 6-8mV
RMS is present. If no signal
greater than 6-8 mV RMS is
detected for approximately 30
minutes, the system will then
return to Standby.
*
Connect both Bass
towers to AC power and turn
on the MAIN POWER ON/OFF
switches on both Bass towers.
General Note
Because the Slave bass tower
will only turn on when the
Master tower is already turned
on, it does not matter in which
order you activate their main
power switches.
The settings for the Slave
tower are automatically synchronized by the Master tower
when it is turned on.
If the Master tower is turned
off, the Slave tower will immediately enter Standby.
Controls and Functions (rear
panel and remote control)
The desired function (VOL, Q
or LOW CUT) must be shown
in the display before any
changes can be made.
"
VOL + Press briefly to
increase volume by one step.
To continue increasing volume, hold the button down.
Maximum volume setting is
+6 dB. One step is 0.5 dB.
"
VOL - Press briefly to
reduce volume by one step.
To continue reducing volume,
hold the button down.
Minimum volume setting is 111.5 dB. One step is 0.5 dB.
"
Q + Press briefly to
select next Q setting. To continue changing Q setting, hold
the button down. There are
three available Q settings.
After Q3, Q1 is selected, etc.
"
Q - Press briefly to
select previous Q setting. To
continue changing Q setting,
hold the button down. There
are three available Q settings.
After Q1, Q3 is selected, etc.
"
LOW CUT Press to
switch Low Cut ON or OFF.
"
MUTE Press to turn
Mute function ON or OFF.
MUTE ON is activated
immediately when MUTE is
pressed, regardless of display
status.
When Mute is on, press
any button for MUTE OFF.
5
Panel indicators
There are four LED indicators
on the rear panel.
Low Cut must ALWAYS be
activated when listening to a
turntable.
"
Green LOW-CUT LED
lights when LOW CUT is active.
"
Green MUTE LED lights
when MUTE is ON.
"
Blue STANDBY LED
lights when the module is in
Standby, blinks during powerup of the module and is off
when the module is ON.
"
Red ERROR LED is off
when no error condition is
detected.
The Poseidon system requires
at least 100 hours of break-in.
Do NOT use special break-in
discs. Often, they tend to
result in break-down instead.
The red Error LED
blinks when system surveillance detects a thermal error, a
temperature in excess of 90 C
at the power amplifier.
The Bass module will
enter Standby. The red Error
LED will turn off when the
temperature drops below
approximately 70 C.
The red Error LED
lights when system surveillance detects a DC/HF error at
the power amplifier.
The Bass module will
enter Standby.
Turn off the module at its
main power switch and wait 5
minutes before turning it on
again.
If the Error LED continues to
indicate a DC/HF error, remove the signal interconnect
from the module's input socket. Turn off the module at its
main power switch and wait 5
minutes before turning it on
again.
If the Error LED is now off,
look for the error at an earlier
point in your audio chain.
If the Error LED continues to
indicate a DC/HF error, contact your Gryphon dealer for
service.
Using a turntable
Because of the extreme lowfrequency capabilities of the
Poseidon system, Low Cut
must ALWAYS be activated
when listening to a turntable.
What is Q Control?
Every room has a natural
boost at certain low frequencies. At which frequencies this
occurs depends on room size
and other factors. Gryphon Q
Control adapts the loudspeaker system's low-frequency
response in order to match
the room's influence on deep
bass. This technology was
introduced in the Gryphon
Cantata to allow the room to
enhance the bass performance of a small loudspeaker. In
the Poseidon system, it helps
prevent low-frequency overload in the room.
Break-in
The Poseidon system requires
at least 100 hours of break-in.
Do NOT use special break-in
discs. Often, they tend to
result in break-down instead.
Choose dynamic music instead. Michael Jackson is a popular choice for burn-in purposes, if there is no one in the
room.
HF compensation modules
Neutric input
Adjusting the HF level on
the poseidon:
On the backside of the
Poseidon passive X-over you
willfind a Neutrik Speakon
input.
This in combination with the
colorcoded modules that are
supplies with the system will
allow a adjustment of the
Tweeter level in comparison
with the rest of the drivers.
Rather than using a potentiometer or restor network in
series with the very revealing
tweeter, we found it lees invasive to adjust the midrange
level in comparison to the
tweeter, thus securing that the
signal path to the tweeter is
not contaminated.
When using the modules to
adjust the HF a correting
adjustment of bass level may
be required.
Black Module - neutral
Red module + 1 dB
Yellow module - 1 dB
Both channels must be identical. Do not play without any
modules.
We assure you that it is not
possible to improve this system by replacing a few
lengths of wire or a capacitor.
Reference playback material
Poseidon is an uncompromising precision instrument that
will revise your perception of
what a loudspeaker can and
should do. We have placed
great emphasis on correctness
in the audio presentation. This
will mean that poor recordings
will be revealed for what they
are and certain recordings
that previously seemed to be
good will be revealed as overproduced with a bloated bottom end. Poseidon does not
require any boost of any kind.
Maintenance
Poseidon does not require
special maintenance. You can
remove dust or fingerprints on
acrylic or aluminum parts with
a soft, clean cloth. If your system has wood panels, they
can be treated with wood wax
as needed. Always cover and
protect acrylic and aluminum
surfaces during such treatment.
Do NOT touch the drive units.
Their special coating can be
slightly sticky.
Tweak alert
Poseidon is the fruit of an
extremely protracted, very
open-minded development
process. We assure you that it
is not possible to improve this
system by replacing a few
lengths of wire or a capacitor.
Remember - all critical components are not just specially
selected - they are specially
developed specifically for the
Poseidon system.
Technical
Poseidon
Module:
data
for
Amplifier
Input impedance, RCA input
: 20 Kohm, DC-20000 Hz.
Input impedance, XLR input
: 40 Kohm , DC-20000 Hz.
Power Amplifier section:
18 Sanken power transistors
pr. unit.
Power Supply Capacity pr. unit
: 180.000 uF
Output impedance
: 0,0095 ohm, DC-20000 Hz.
Bandwidth (-3dB)
: 1 - 250KHz
Gain (Power amp.)
: 32dB
Output power (rms)
: 1000W @ Poseidon drivers
Peak to peak current
:126 A
Analog signal processing:
Volume range
: -100 to +8 dB in 0,5 dB
steps
Low-cut, (optional)
: 16Hz, 2. Order
Low-pass filter
: 2.order with additional correction
Q settings
Q1 (Green indication on front)
:FL = 21Hz, Q total system =
0,30
Q2 (Red indication on front)
: FL = 21Hz, Q total system =
0,35
Q3 (Orange indication on
front) : FL = 21Hz, Q total
system = 0,40
Poseidon Speaker system
performance:
Frequency response:
16 Hz - 40 kHz +/- 3db.
Sensitivity:
Bass:
Active : xlr/RCA in. 1 v - full
output
High Frequency Tower:
Passive : 94 db 1 Watt
Bass tower dimensions:
W: 34cm D: 73 cm H: 199 cm
High Frequency Tower:
W: 22cm D:45 cm H: 199 cm
Shipping weight: Total ( 5
wood crates )
900 Kgs.
Warranty
The Gryphon Poseidonis warranted against failures
arising through faulty workmanship and materials for
a period of 5 years from date of purchase. The warranty is not transferable. This warranty is only valid
in the country where the product was purchased. All
claims under this warranty must be made to the distributor in the buyer`s country by returning the unit
securely packed in the original box with all accessories, postage/freight prepaid and insured. The unit will
be repaired or replaced at no charge for parts and
labor.
This warranty remains valid only if the serial number
of the unit has not been defaced or removed and if
repairs are performed only by authorized Gryphon
dealers or distributors. It does not cover damage due
to misuse, accident or neglect. This warranty is not
valid if the operation voltage of the product has been
changed. The distributor or manufacturer, Gryphon
Audio Designs, Denmark, retains the exclusive right
to make such judgement on the basis of inspection.
The retailer, distributor or manufacturer of the
Gryphon shall not be liable for consequential damage
arising from the use, misuse or failure of this product, including injuries to persons or property.
To qualify, the enclosed warranty registration card
must be filled out and returned to the manufacturer
within 10 days of purchase.
Alternatively, you may choose to register your
Gryphon on our website:
www.gryphon-audio.com
Flemming E. Rasmussen and the Poseidon design crew take
immense satisfaction in this milestone iin the history of the
company. The plan was to unveil it in connection with
Gryphon's forthcoming 20th anniversary, but after more than
ten years, its time had come.
When the privileged owner of the Poseidon sits back and experiences how music rises above technology as walls fade away
and a direct connection is made to the very souls of the performers, we know that our work is done and we take great
pride in it. We have made one of the world's largest loudspeakers disappear, leaving in its place the only thing that really
matters. Music.
Set-up notes and observations:
Manufacturing Log:
Dealer's Set-up Log:
Service/update Log: