Gryphon Trident II User Manual
Page 3
Trident ll
Rarely have we designet a speakerproject, that from the very
beginning had something ”right” about it. It was like this spea-
ker was trying to show us the direction to follow, in its creation,
from the organic shaped individual baffels to the exceptional
marriage between the AMT and the conedrivers. Everything
fell into its right place and no drivers needed ”agressive coa-
ching” ( read: lots of adittional correcting components ) to
shine in all its glory. This feeling of ”right” is what people
comment when they hear this speaker, they praise its seamless
and coherent presentation with amazing dynamics and detail,
but alwayst in a way that makes you appreciate the music the
way it should be, something that moves us and let us escape
into a another world for a while.
Flemming E. Rasmussen
Ry, Denmark, March 2014
The Final Frontier
Having earned a global reputation for technological mastery
and unsurpassed excellence in audio amplification and CD
playback, it was a natural evolutionary move for Gryphon
Audio Designs to broaden its scope and apply the uncompro-
mising Gryphon philosophy to the final link in the chain. But
this decision was by no means made on the spur of the mo-
ment.
The Gryphon loudspeaker story begins with a chance encoun-
ter between Gryphon founder Flemming E. Rasmussen and
Danish loudspeaker legend Steen Duelund, a Danish mathe-
matician who dedicated his life to the advancement of louds-
peaker theory. Duelund was a man on a mission whose many
theories and discoveries continue to inspire professional de-
signers and DIY speaker builders long after his passing.
On a strictly informal basis, they began an in-depth explora-
tion that would take full advantage of Rasmussen’s extensive
experience in design and manufacturing to transform Due-
lund’s theories into real-world products with scant regard for
such minor details as pricing, parts availability, prevailing atti-
tudes and preconceived notions.
Imperfect Drivers
Duelund’s revolutionary theories on constant phase in crosso-
ver networks can be summed up in a single statement: “All
drivers must be in phase at all times at all frequencies.” Follo-
wing this theoretical “Eureka,” the hard part then became ma-
king that happen with a real loudspeaker in a real room. The
first step was to acknowledge that the greatest challenge fa-
cing loudspeaker designers was the simple fact that dynamic
drive units are by nature flawed and compromised.
Steen Duelund