I've owned this device for several years and changed to radio tubes. The sound is amazing and noticeable, unlike the Chinese ebay buffers still being sold.

I only wish the company continued to make these, or at least record them in their archives.

Let me start off by saying never listen to someone on an audio forum that's never actually tried a product. This Grant Fidelity has been in my collection since it came out. Prior to purchasing this I owned two Chinese models I acquired off Ebay. They didn't seem to anything but muddy the signal if even that. The GF is not the same. Immediately after plugging it in I noticed more detail and separation along with the warmth of tubes I hear on my tube amplifiers. The music is much more mellow with zero fatigue.

My understanding is the Mr. Grant that helped start this company has passed away and the company is still in business with the co founder. They didn't make these for very long deciding to go in a more high end direction as evidenced by their current pricing. I purchased this on sale and have no regrets.

My experience with the B-283 is a complicated one. Easiest to mention? Imaging -- the placement of instruments in a holographic plane of sound was better than ever. You can easily see instruments in the room and feel the space of the area that the recording happened in. In some cases if you were to close your eyes, your senses would deceive you into thinking that you were in a much larger place with a wider and deeper view of what was in front of you. To be transported to a music hall sonically is quite a feat. Air is something really hard to explain. It only happens at the highest frequencies; cymbals, chimes, strings and horns. The tubes added a naturalness to these sounds never heard before. It only added to the feeling that one was privy to a real live session. Tones of instrument became more soulful and carried a weight that really let emotion of the players jump out at you. Sound stage -- the width, height, depth and size of a sonic image. Let's just say this was the deepest and endless I've ever heard and most evenly cast around the room, like knocking down the walls to find echoes coming at you from a distant canyon. Not to say the echoes were added, but only reveled if they were in the recording. Details, details, details. I know the 1812 Overture like the roof of my mouth, but here again I heard new things in the music I had never heard before; the sound of sweaty palm being lifted from a kettle drum, making only the slightest sound of a tacky release, the subtle sliding sound of clacking the castanets, and finally the breath of a flutist finding relief during the rests in measure. Warm, very rich and firm bass was abundant in droves. Never bloated or overpowering, not louder but just richer and full of character that didn't muddle itself together. An upright bass with utter detail of it's action was astonishing. NOW THE CRAZY PART -- I think most people don't like classical music, because very few playback systems can achieve the separation and detail of each individual instrument, in point you end up with a smeared unified sound that sounds more like a belt-line traffic jam than a collection of beautiful sounds working in harmony to paint a picture, with great contrast to each other but in sublime orchestration. Classical music is all about textures, not a blunderbuss of dynamic blur. So what happened?? God appeared in front of me and with her omnipotent hand, she quickly removed the veil and laid out before me the millions of brush strokes that made up the orchestras passionate mission. For once I could see the conductors notes on the page in my mind, each section moving through the pages, as if I were hearing what braille sounded like. This is High End Audio.