Gryphon MOJO S User manual

Owner´s Manual
The Gryphon Mojo S
Speaker System
Version 1.222017
Pronunciation [moh-joh]
–noun, plural -jos, -joes.
1. the art or practice of casting magic spells;
magic; voodoo.
2. an object, as an amulet or charm, that is
believed to carry a magic spell.

6x A
M6x25mm
8x B
M6x12mm
2x D
Coaster
1x E
5mm Hex key
1x F
4mm Hex key
2x C
Spike
4x G
M6x35mm
4x H
M6 washer
E
GRYPHON AUDIO DESIGNS
MOJO S - assembly instruction - Page 1 of 2
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GRYPHON AUDIO DESIGNS
MOJO S - assembly instruction - Page 2 of 2
GRYPHON AUDIO DESIGNS - INDUSTRIVEJ 10B - 8680 RY - DENMARK
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Mojo s set-up, top view

This is only a suggestion to a
starting point for experiments,

The Gryphon
Mojo S monitor
system
Welcome to our world
Words by Flemming E. Rasmussen, CEO and
Founder of Gryphon Audio Designs
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 belie-
ved that we experience music
with our hearts as much as
with our ears. For me, the ulti-
mate test is very simple - the
music must reach out and
touch the heart. Looking back
over 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 defi-
ned by market research.
Some might find that arrogant
and perhaps it is, but I prefer
to see it as an honest appro-
ach, while accepting that not
everyone shares my point of
view.
Fortunately, the passing years
have proven that there is a
sufficiently large group of like-
minded individuals around the
world who have come toget-
her in this common quest.
I would like to take this oppor-
tunity 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 tech-
nology. 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 quali-
ty, 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.
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 repu-
tation for unsurpassed excel-
lence in amplification, it was a
natural evolutionary move to
broaden our scope and turn
our attention to the other links
in the audio chain.
Flemming E. Rasmussen
Gryphon founder and CEO

Beginning with source compo-
nents, Gryphon designed the
world's first single-chassis CD
player with onboard upsamp-
ling. 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 uncompromi-
sing Gryphon take-no-priso-
ners approach to the final link
in the chain. But this decision
was by no means made on the
spur of the moment.
In fact, the Gryphon speaker
adventure began nearly 18
years ago with a chance
encounter between Gryphon
founder Flemming E.
Rasmussen and Steen
Duelund, a Danish mathema-
tician who has dedicated his
professional life to loudspea-
ker theory.
Duelund's theories on con-
stant phase in crossover net-
works 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 experti-
se and extensive experience
in design and manufacturing
to transform Duelund's theori-
es into real-world products
with scant regard for such
minor details as pricing, parts
availability, prevailing attitu-
des and preconceived notions.
Steen Duelund passed away
in 2005 but the rest of the ori-
ginal designteam implement
his ideas and spirit, as much
as possible, in every Gryphon
speaker project. Duelund left
a unique library of reference
recordings to Gryphon CEO
Flemming E. Rasmussen.
These recordings are still
being used in all projects, allo-
wing us to imagine what the
old master would had said.
Mojo s design observa-
tions
As with all things known to
man, loudspeakers are sub-
ject to the laws of physics and
to the limitations of human
perception. We may bend,
manipulate or mask or exploit
these laws and limitations, but
we cannot ignore them.
In the quest for the finest spe-
aker, music lovers audition
numerous models and finally
settle on what they believe to
be the “best” speaker. What
else can you do? But is the
“best speaker” truly the best
speaker? If you are lucky, you
will end up with a speaker that
is the best match for a parti-
cular room, a speaker that
might be a complete disaster
when set up in a different
room. This explains the diffe-
rences in opinion about spea-
ker performance. The perfor-
mance/quality of any given
speaker changes radically,
depending on its environment.
Steen Duelund 1943 -2005
Lars Matthisen, Chief Acoustic
adviser at Gryphon, carrier of the
Duelund flame.

In general, a loudspeaker
can be no better than the
listening room allows it to
be.
Therefore, the listening room
is the most important element
in a high performance sound
system and for this reason is
often referred to as the final
frontier. Few people have the
luxury of a dedicated, purpo-
se-built listening room. Most
of us listen to music in a room
that also serves as the living
room. There are several ways
to address this challenge.
Here are the most common
“solutions”…
A.
The room can be treated in
several ways by using passive
and/or active absorbents,
bass traps, diffusers and other
devices. Unfortunately, these
methods are usually expensi-
ve, an eyesore in the living
room and of limited success.
In most cases, they simply
change the flavor of the pro-
blem.
B.
In recent years, sophisticated
“room correction systems”
have been introduced. The
term Room Correction is quite
misleading insofar as none of
these systems actually correct
the room in any real sense.
They electronically manipulate
the sound of the audio system
in order to obtain a better
measured match to the room,
much like previous genera-
tions of equalizers that merely
changed the tonal balance of
the sound. Unfortunately, they
typically introduced a whole
new set of problems and are
not usually used in high end
sound systems. Lastly, a num-
ber of correction systems are
basically computers that digi-
tally manipulate the sound for
the same reasons. These sys-
tems are more sophisticated
and can address the task with
great precision. However,
many critical listeners agree
that the digital conversions
and extensive signal manipu-
lation involved have a high
price, and not just the one on
the price tag.
C.
The most popular solution is
to experiment and mix pro-
ducts with different flavors
and especially to seek out a
speaker that has a comple-
mentary sonic signature to
that of the listening room. At
best, “neutral” performance is
obtained by forces reacting in
different directions, hoping for
tonal equilibrium. This is an
art approaching alchemy and
the proud owner’s fragile
house of cards collapses if any
of the components, especially
the listening room, is chang-
ed. For many audiophiles, this
ongoing quest to find the
sonic Holy Grail through con-
stant experimentation is what
it is all about.
Most music lovers simply want
to listen to great music with
great sound without needless
hassle.
Bass performance
The most severe problems
usually occur in the bass
region, typically due to
designers’ over-imaginative
attempts to circumvent the
laws of physics. Most people

prefer a speaker with full fre-
quency response from the del-
icate high-frequency shimmer
of a triangle to the lowest
notes of a church organ. All
speakers should ideally pro-
vide superior high frequency
performance, but speakers
with full output at low fre-
quencies require large drivers
and consequently large cabi-
nets with huge internal vol-
ume. Low frequencies also
require movement of large
amounts of air in the room.
There is little to be done
about these physical facts, as
long as we look at the loud-
speakers in isolation.
Another often overlooked fact
is that, although a speaker
may be capable of extended
deep bass performance, its
performance can be easily
compromised by adverse
room conditions.
This is a fact that cannot be
changed, and when a large
speaker is used in a room that
is too small, room overload
occurs and the compressed air
expands like waves in water.
This is caused/supported by
an acoustic phenomenon
called “room gain”, the room’s
automatic amplification of
lower frequencies by 12 dB
per octave.
The result is what is generally
termed “standing waves”.
This acoustic amplification of
bass is heard as an over-
whelming emphasis on the
lower frequencies. In audio
lingo it is referred to as a
“boomy” bass.
This type of bass may impress
some friends and annoy
neighbors but it can hardly be
described as high end sound
and is certainly not acceptable
to the educated listener.
Smaller Speakers
Many people prefer compact
speakers because they usually
do not suffer from these prob-
lems, but only because their
small enclosure and drivers
cannot generate enough ener-
gy to provide deep bass and
consequently excite the room.
The smaller speaker often has
superior midrange and high
frequency response simply
because the smaller enclosure
provides ideal working condi-
tions. Smaller speakers also
often offer a superior sound-
stage, allowing the speaker to
disappear as the soundstage
extends well beyond the phys-
ical positions of the speakers.
The generally smaller drivers
are faster and reproduce tran-
sients and details without the
delay and “overhang” often
found in larger drivers.
Again, there are no free
lunches and the trade-offs
with the small speaker are
reduced bass and lower maxi-
mum output than larger
speakers.
Critical listeners with vast
experience in listening to dif-
ferent speakers often com-
ment that they wish that they
could combine the sound-
stage, disappearing act and
speed of the small speaker
with the bass response of the
larger speaker.
At Gryphon we have over the
years made similar observa-
tions and faced the challenge
of small rooms at shows and
elsewhere. We are often
asked what speakers we use

and which speakers we rec-
ommend. Our answer has
always been that we recom-
mend the speaker that sounds
best in the room in which it
will be used. When we use the
term “best” we mean correct
and realistic in musical terms,
essentially neutral, but with all
the dynamics and excitement
of listening to live music. We
find headroom, ambience and
tonal coherency to be key ele-
ments in the live music expe-
rience.
The Gryphon Mojo s
monitors
The Cabinet
In order to live up to the
uncompromising design goal
of perfect phase all the time at
all frequencies, the enclosure
incorporates a concave curved
front to form a direct angled,
time-aligned system with
identical distance from the lis-
tener to the acoustic center of
each driver. This is the only
way of ensuring a true timeal-
lingnemnt while maintaining
direct on-axis sound from the
drivers. It is not seen as often
as the usual sloped front that
is much less complicated and
expensive to make.
The Bass Driver
We decided to use two 6 inch
drivers rather than one large
driver. This preovides larger
surface area while maintaing
high driver speed with mini-
mum lag and overhang. This
also allows a more narrov
front, minimising baffle dif-
fraction.
The drivers are employs pulp
paper cones, chosen for excel-
lent linearity and controlled
behaviour outside its used fre-
quency range, eliminating
invasive correction to reduce
the negative effects of cone
break-up.
The die-cast basket is a very
ridgid, but open, structure
preventing compression
behind the cone, even the
area behind the spider is ven-
tilated, allowing the spider to
work freely.- These qualities
are basics in the
Duelund/Gryphon design phi-
losophy of designing and buil-
ding the “correct” drivers rat-
her than “fixing it in the mix,”
as is often the case. - for
obvious economical reasons.
The Tweeter
By unfair tradition, the twee-
ter is always the star of the
show. To much focus is often
placed on an exotic tweeter
that may be outstanding, but
being the star, often fails to
play along with the rest of the
band. At Gryphon we believe
in an “all star” approach to
qualify, each driver must be
able and willing to join the
team to create a complete,
seamless speaker with a uni-
form performance across the
band, not only in terms of fre-
quency but just as much in its
subjective nature and appro-
ach to the task.
In this case, we do use a truly
exotic tweeter that was the
natural star without being
“forced” into the concept. The
Tweeter is a Air Motion
Transformer units with a
extremely light metal diaphra-
me, providing lightning fast
response combined with flat
frequency response up and
beyond 38kHz with extremely

The speaker terminals are
Gryphons proprietary 5 way
terminals used on Gryphon
products such as the Poseidon
and Colloseums.
The Mojo s basic stand
The mojo s stand places the
speaker in the correct height
for most people. The stand is
sandfilled for weight and dam-
ping. Adjustable spike with
coaster are also provided,
ensuring a effective evacua-
tion patch for vibrations from
the system and vertical align-
ment.
low distortion and with a total
absence of compression.
A category of tweeter rarely
found in monitor-sized spe-
aker systems.
The X-over
The Mojo s x-over is a show-
case of carefully choosen or
purpose manufactured com-
ponents. The extreme
Graphite resistors fra Duelund
Coherent Audio, handmade
conductors from the famous
Danish Jensen company and
excellent low-memory, preci-
sion capacitors from
Germany. All parts are hardwi-
red with special Teflon hard-
insulated silver wire. Parts
such as the entirely handma-
de Duleund resitors and the
Jensen coils are components
rarely found in commercial
speakers
because
of their
prohibitive
cost, but they are
well known and used in
the hardcore DIY commu-
nity. Due to the intrinsic
high pass roll off of the rib-
bon tweeter, the filter is of
fourth order for the tweeter
and the bass units to have
same phase continuity at all
frequencies.
Jensen paper/oil coil
Duelund graphite resistor

Owner's Manual
When You you purchase the
Mojo s system your authorized
Gryphon dealer delivers and
installs the Mojo s system. His
staff has been meticulously
schooled in the proper unpac-
king and set-up of the system.
Your dealer will return after a
two-week break-in period for
final adjustment.
This service is included in the
price of the Mojo s 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 recom-
mendations. The Mojo s´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 cabinerts should be at
least 1 m from any side wall.
We recommend as much dis-
tance from the back wall as
possible.
Imagine a circle on the floor
at a diameter of 10 meters
with the listener in the middle.
The Mojo s should be set up
following the line of this circle,
forcing all the drivers to point
directly at the listener at a dis-
tance of 5 meters. This is the
basic design formula and not
all locations will allow this. We
have tested Mojo s in a num-
ber of different room sizes
from very small rooms to
halls. What is important in all
cases to set the speakers up
with a toed-in pointing direct-
ly at the listener.
Note: plush furnishings provi-
de high acoustic damping,
requiring greater system out-
put.
Mojo s was developed in a 50

sq.m. room with typical
acoustic damping correspon-
ding to most modern residen-
tial spaces.
We do NOT recommend room
treatments for added damping
behind the loudspeakers.
Some damping behind the lis-
tening position is recommen-
ded, especially if it is close to
the rear wall.
Diffusion is generally a far
better acoustic solution in that
it removes unwanted reflec-
tions without restricting dyna-
mics or exerting excessive
influence on tonal balance.
Because Mojo s design requi-
res angling the cabinets in
towards the listener, the influ-
ence of side walls is minimal.
The curved baffles also reduce
reflections from floor and cei-
ling. If the ceiling is low, a dif-
fuser placed at the point of
the first reflection may be
useful. A rug on the floor bet-
ween listener and speakers
will help. The conventional
coffee table in front of the lis-
tener is typically the source of
most problems with unwanted
reflections.
We strongly suggest that all
effort are made to optimize
the acoustic properties of the
room before any electronic
manipulation ( room correc-
tion ) is considered. - ( elec-
tronics can not correct any
room, they manipulate the
sound to compensate for poor
acoustics).
We consider this to be the last
resort.
Because of its design and
comprehensive adaptability,
Mojo s is nowhere near as
demanding as other speakers.
However, because of Mojo s´s
extreme phase linearity, you
will discover that it is more
revealing than any other loud-
speaker this size.
Be prepared for a radical revi-
sion of everything you had
previously learned about loud-
speakers or heard from them.
Set-Up
Mojo s is designed to form
two hemispheres - one hori-
zontal and one vertical. The
vertical hemisphere is defined
by the curvature of the front
baffle.
The cabinets must be angled
in so that they are aimed at
the same point (ear level for a
centrally placed listener), for-
ming a curve in front of the
listener. PROPER PLACEMENT IS
CENTRAL TO THE Duelund CON-
CEPT 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.
Break-in
The Mojo s 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. Heavy
metal is a popular choice for
burn-in purposes, ...
Tweeter tuning
Sometimes, room acoustics
may require a slight adjust-
ment of HF levels to obtain
seamless presentation. We
would not consider a potentio-

meter - ruining the fantastic
performance of the tweeter-
instead the Mojo s is provided
with a set of sockets for
Duelund Graphite resistors on
the back of the speaker.
Custom value resistors can be
purchased from your Gryphon
dealer. The resistors are pla-
ced in the clips and the leads
connected to the black termi-
nals. Be careful not to break
the resistors and make sure
that the leads are not
short circuiting to the
back plate or the other
resistor.
Standard setting/neutral:
R1 = 5.6 Ohm
R2 = 39 Ohm
Optional
Low setting: ( - 0.5 dB )
R1 = 10 Ohm
R2 = 15 Ohm
Optional
High setting: (+ 0.5 dB )
R1 = 3.9Ohm
R2 = Empty
Tweak alert
Mojo s is the fruit of an extre-
mely protracted, very open-
minded development process.
We assure you that it is not
possible to improve this sys-
tem by replacing a few
lengths of wire or a capacitor.
The Mojo s stand
The enclosed spike and coas-
ter will ensure a optimal coup-
ling to the floor even on car-
pets and is adjustable for
vertical allignment of the
speaker.
Maintenance:
Custom paint in semi
gloss/high gloss two-pack
automotive paint with a very
hard surface. Only use a moist
soft cloth to wipe it . Do not
use any solvents of any kind.
Do not wax or polish.
Mojo s Speaker system
performance:
Frequency response:
37 Hz -32,000 Hz
Room dependent
X-over freq: 2000 Hz
4th order
Sensitivity:
89 db / 1W / 1m
Nominal impedance:
4 Ohm
Power handling:
200 Watts
Dimensions:
W: 42 cm D: 47cm H: 122 cm
Net. weight
2 x 49 kgs.
Shipping weight:
2 x 91 kgs.

Enjoy
Flemming E. Rasmussen and
the Mojo s design crew take
immense satisfaction in this
new addition to the history of
the company.
When the privileged owner of
the Mojo s sits back and expe-
riences 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 the loudspea-
kers disappear, leaving in its
place the only thing that real-
ly matters... Music.
This speaker system consists
of a combination of different
materials that respond to
temperature and humidity.
For prolonged life, maximum
performance and reliability,
we recommend that it is pla-
ced in a room without any
large variations in
temperature and humidity.
本扬声器系统以多重物料制作
，可能受温度和湿度影响。
请将本扬声器系统放置于温度
和湿度⽐较稳 的房间，以确
保其最佳表现、耐⽤性及可靠
性
本揚聲器系統以多重物料製作
，可能受溫度和濕度影響。
請將本揚聲器系統放置於溫度
和濕度⽐較穩 的房間，以確
保其最佳表現、耐⽤性及可靠
性

Warranty
The Gryphon Mojo s is warranted against failures arising
through faulty workmanship and materials for a period of 3
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, posta-
ge/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 per-
formed only by authorized Gryphon dealers or distributors. It
does not cover damage due to misuse, accident or neglect.
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 fil-
led out and returned to the manufacturer within 10 days of
purchase.
Alternatively, you may choose to register your Gryphon online
www.gryphon-audio.com
Notes:
Serial number:
Purchase date:
Color: