Integrated Amplifiers

Integrated amplifiers are ten a penny, but not when you get into five figures. Often, at this point, consumers and manufacturers pivot toward pre/power systems, pursuing gains in performance and functionality in favour of the simplicity that comes from a one-box design. Yet high-end integrateds do exist, as illustrated by the Diablo 333, starting at £24,500, from Denmark-based Gryphon Audio.

Is there something in the water in Denmark? The country certainly seems to have an outsized influence in the world of hi-fi audio, with Gryphon joined by well-known companies Copland, DALI, Dynaudio, Lyngdorf, Raidho, Scansonic, System Audio and Tangent, among others. And Gryphon Audio, headquartered in the central town of Ry, arguably stands out from its countrymates thanks to the breadth of a catalogue that runs through pre, power and integrated amplifiers, loudspeakers, CD players, turntables, DACs, power solutions and cabling.

Beastly boost

The Diablo 333 succeeds Gryphon’s 2016-era Diablo 300, the new model name not only reflecting its elevated status but the improved power rating per channel – 333W/8ohm, notionally doubling into 4ohm, up from 300W [see PM's Lab Report]. This 10% increase comes from a redesigned output stage that leverages elements of the manufacturer’s mono and stereo ‘true Class A’ Apex power amplifiers, including the same high-current bipolar output transistors, ten per side here in a dual mono topology running up to an estimated ~10W in Class A. Gryphon has also implemented new ‘ultra-fast, low capacitance’ pre-driver transistors, 68,000μF of PSU reservoir capacitance per channel (with polypropylene bypass caps), and a massive Holmgren toroidal transformer that significantly contributes to the Diablo 333’s overall 50.6kg mass.

Light touch

Yet while indisputably heavy, this amplifier isn’t a behemoth at 468x245x472mm (whd), so could conceivably be positioned somewhere other than low down between your speakers. It’s also strikingly styled in a way some rival amps aren’t – from the artfully sculpted heatsinks to the angular black panels (a design touch borrowed from Gryphon’s flagship Commander preamplifier) that cut through its thick fascia, the Diablo 333 (only available in black) looks… well, if not a million dollars, then at least worthy of its £20k+ asking price.

The lower panel on the Diablo 333’s fascia incorporates a 4.3in TFT touchscreen that shows operational status and provides access to the amplifier’s setup menus. This is clear and intuitive and impressively sensitive to your finger taps – which is just as it should be, considering this non-networked amplifier has no form of app or webpage control to manage its settings. True, the list of options isn’t extensive, but those that are present are useful, including input renaming and level matching, establishing a set start-up level for the amp’s 43-step microprocessor-controlled volume, and changing the display’s brightness and automatic dim/off functions.

Modules to maximise

Out of the box, the Diablo 333 is an analogue-only design with pairs of balanced XLR and RCA inputs. One of those single-ended sets also functions as a tape input and is adjacent to tape and subwoofer outs – note the latter is not accompanied by any low-pass filter. Also on the back panel are 12V ‘link’ in/out connections, an IR sensor input and a ground terminal, between custom binding posts that deserve the term ‘chunky’. That’s your lot for £24,500 but spend more and you can add either one or two of Gryphon’s module options. Both were fitted to our review sample, for an all-in price of £36,400 and an amplifier ready for vinyl and digital playback.

Catering to MM and MC cartridges, Gryphon’s optional Phono Stage 3 (£4950) features XLR inputs feeding balanced, dual mono Class A circuitry, both channels electrically and mechanically isolated. Two banks of DIP switches, beneath the inputs, can be used to set the MC load between 20ohm and 1600ohm, while MM impedance is fixed at 47kohm, and gain set at 64dB (MC) and 42dB (MM). Gryphon emphasises this module adheres to the design of the main amp, including its use of four-layer PCBs with thick (70µm) copper tracks, minimal-length signal paths and polypropylene capacitors in its RIAA stage.

Similar attention to detail has been paid to the DAC 3 module (£6950), which incorporates ESS’s latest ES9039PRO ‘Hyperstream IV’ converter with a dedicated power supply for its analogue output, ‘ultra-low jitter’ crystal oscillator, and input sockets mounted directly to the six-layer PCB. Connections include USB-B, AES/EBU and coaxial/optical, the first of those supporting PCM sample rates up to 384kHz/32-bit and DSD512. For sound seasoners, the DAC offers the seven familiar ESS PCM filters, plus a low-pass DSD filter, and 0/-6dB gain selection for all inputs.

Above: A huge transformer [bottom] services separate PSUs for this dual-mono amplifier seen here with DAC/Phono modules removed. Five pairs of output devices (per channel) are mounted onto two sets of ‘winged’ heatsinks

As for the remote, for this new model Gryphon has turned to the handset of its Commander preamplifier, which is a slab of billet aluminium that feels weighty and snug in your hand. It brings easy control over volume and input choice (including the PS3’s MM/MC phono, but not loading or gain) and lets the user cycle through the DAC3 module’s filter options.

‘Power of the lion with the grace of the eagle’ is a Gryphon tag line, while the flowery language of the manual talks of ‘heirloom build quality’ and ‘ravishing sculptural beauty’. In terms of operation, design and craftsmanship, the Diablo 333 certainly feels like a slice of hi-fi luxury.

Rock ’n’ roar
Set up in HFN’s new listening room, powering Bowers & Wilkins’ 801 D4 Signature floorstanders [HFN Sep ’23] and using Aurender’s W20SE music server [HFN Mar ’23] and dCS’s Vivaldi One Apex player/DAC as digital/USB and analogue sources, respectively, the Diablo 333 captured my attention from the get-go. It delivered the output, slam and weight of sound to fill the large room, coupled to an authentically musical performance packed with detail – both in terms of instrumental colour and soundstaging. Add in a speedy, lively demeanour and the result is an exciting, evocative amplifier that certainly lives up to its premium billing.

AC/DC’s ‘Ain’t No Fun (Waiting ’Round To Be A Millionaire)’, from Dirty Deeds Done Dirt Cheap [Columbia; 96kHz/24-bit download], doesn’t have a particularly polished sound, but the Diablo 333 appeared utterly at ease digging into the production. Electric guitars blasted out of both channels to create thick, rich riffs, as singer Bon Scott prowled around the middle, chatting about rock ’n’ roll poverty. Notable was the amp’s even-handed approach, as it kept a superb balance between the bassline and drums, guitars and vocals. The clean, copious power also gave this 1976 recording a crisp, slamming but unfatiguing delivery.

‘Ain’t No Fun…’ grows in stature across its six minutes. The drumming gets more edgy and the guitars more frantic, before it explodes into double-time, complete with crashing cymbals and shouted vocals. Here, the Diablo 333 established such a firm grip on the low end, such an open, large and attacking sound, that by the end of the song I wanted to give it a round of applause. And, with B&W’s 801 D4 Sigs, I reached the limits of my hearing while the amplifier appeared unperturbed.

Warmth and wonder

Of a more mellow bent is Chris Isaak’s ‘Wicked Game’ [Heart Shaped World; Reprise Records], where the Diablo 333 added a hint of warmth to the plump bass and gently teased out the delicate acoustic guitar in the background. Similarly, the backing singers were revealed just enough, while the lead guitar and vocal lines were brilliantly spot-lit. As Isaak flitted from spoken word verses to anguished choruses, the clear, detailed sound of the 333 meant every shift in emotion was captured.

A run-through of Ed Rush & Optical’s ‘Pacman’ [Ram Trilogy remix; Virus Recordings] endorsed the ability of Gryphon’s integrated to drop deep, as it brought serious heft to the sub-bass that forms a foundation for the track’s synth soundscapes. Yet even more impressive were the range of basses on Marcus Miller’s ‘Cousin John’, from his Grammy Award-winning M2 set [Telarc CD-83534]. This slippery slice of modern jazz counterpoints deep electronic flourishes with funk-infused runs high on Miller’s bass guitar, the latter played with delicious snap and bend. Through the Diablo 333 it sounded fluent and live, encouraging you to listen intently even while flute, clarinet and more – each with their own timbre – battled for your attention.

Above: Seen here with the PS3 phono [top] and DAC3 digital [middle] modules installed, the Diablo 333 otherwise offers two balanced (XLR) and one single-ended (RCA) line input, a tape loop, sub out and custom 4mm speaker cable terminals. Note ‘15A’ bladed IEC AC mains inlet

Sax appeal

This is, really, what Gryphon’s amp does best: present every last detail of the music, from a pounding tom-tom to a reedy sax, across a wide, deep soundstage, with superb clarity. Such a performance makes it ripe for tracks of pristine quality, so hi-res devotees will easily get their kicks. Rebecca Pidgeon’s ‘Texas Rangers’, in DSD64 from her Retrospective album [Chesky Records; SACD242], was as immaculate a listen as fans of the quality-focused label would expect – soft but finely-resolved banjo in the background, sometimes accompanied by silky violin, and an epic light cast upon Pidgeon’s sibilant-free vocal. Equally, The Gil Evans Orchestra’s 17-minute ‘take’ on Jimi Hendrix’s ‘Little Wing’ [Live At Fabrik; Jazzline Classics; 48kHz/24-bit] translated from club to listening room with all its nuances intact, including a left-of-stage saxophone solo delivered with such purity that it stopped me in my tracks.

You could hear a pin drop (well, a shuffle of a foot) between the crescendos and cymbal crashes of ‘Entry Of The Gods Into Valhalla’, from Wagner’s Das Rheingold [Simon Bolivar Symphony Orc/Gustavo Dudamel; 48kHz/24-bit], and this being Wagner there are plenty of passages where the ‘forte’ marking appears. Credit to the Diablo 333 that its character didn’t subjectively appear to change as it was asked to deliver more juice, and best of all, the flurries of strings and blasts of brass enjoyed a sweeping, flowing feel, as music and amplifier seemed to be in perfect union.

Returning to up-tempo rock with Rainbow’s ‘Starstruck’ [Rainbow Rising; Polydor UIGY-9641; DSD64], the Diablo 333 rendered the guitar licks with bite and ensured the tight rhythm section bounced along. Meanwhile, Adele’s ‘Set Fire To The Rain’ [21; XL Recordings XLCD 520 E] has the sort of rich studio production this amp eats for breakfast, letting me crank it up to feel the weight of B&W’s woofers, and be soaked by the spray of Adele’s vocals.

Above: All-alloy remote provides control over input, volume, mute and display brightness with filter (LPCM and DSD), gain and input options for the DAC3 card when fitted into the ’333

Finally, hearing Sonicvibe’s wall-to-wall electronica [‘Deep Dive’, A State Of Trance 2023; Armada Music] – music that needs a big amp and speakers – I was rewarded with a huge, wide-open rendition of euphoric synths and dramatic, deep bass. The song title is apt, for this is a performance you want to dive into.

Hi-Fi News Verdict

Gryphon’s new premium integrated amplifier is devilishly good, from the smartness of its ‘Nordic Noir’ design and simplicity of operation, to its stunning build quality and a performance where sheer power is allied to fine-touch detail and texture. Never one to hide its musical light, the Diablo 333 brings a sense of immediacy to all your music, and promises to be an ideal partner for the finest sources and loudspeakers.

Sound Quality: 89%