Asos Uh Oh Something s Gone Wrong We re Looking Into It Please Try Again Later

At beginning it sounded like a great idea. A few months ago, Bryston Audio (website) asked me if I wanted to review the newest version of their truly iconic power amplifier, the 4B. They offered a very intriguing wrinkle to this review of this Bryston Sound 4B³–would I be willing to compare the sound to a perfectly restored early-generation Bryston 4B-ST?

"That sounds really interesting," I replied. "Sure, I'll practice it!"

I knew I wanted to revisit with Bryston considering I institute their B-135³ integrated amplifier, which I reviewed for The Occasional a couple of years ago, to exist a really good feature-packed product that sounded much better than I expected. That bumps up against a subject field I'll discuss in a minute—a "trademark" sound and what that means to audiophiles.

Once the ii Bryston amplifiers arrived at my door, I started wondering about Bryston Sound's intentions for this comparison betwixt the 4B³ and the original and what they hoped I would detect during the review period. Every bit I saw it, there were at least a few possible scenarios:

• I'd detect that the Bryston Audio 4B³ was a huge improvement over the ST, and that I could talk most all the new tech and circuitry design changes over the years and how they are responsible for sonic improvements.
• I'd detect very little difference betwixt the Bryston Sound 4B³ and the older amp, therefore confirming that Bryston'southward been making first-class amplifiers for decades and they deserve the success they've had in high-cease audio.
• I'd find out that the original Bryston 4B-ST, restored at the factory, would exist so good that Bryston would launch its new Restoration Division with the slogan "We'll make your old Bryston audio exactly similar the latest version!"
• Peradventure I wouldn't like either amp. It happens, sometimes.

That last option was dragged, kick and screaming, out of the room once I plugged the Bryston Sound 4B³ into the reference system for the offset fourth dimension. My kickoff impression was simple—oh, this is nice—and I allow the amp break in and I listened for a few weeks while the original amp saturday in the corner of the room and took copious notes.

A Quick Give-and-take of "Trademark" Sound

Before I start examining the sonic differences between the Bryston Audio 4B³ and the older 4B-ST, I wanted to bring up a subject field that nosotros sound reviewers take been recently discussing. Information technology's non almost a company's trademark sound per se, simply whether or not some of the about famous marques in the high-finish sound industry are shifting their overall sound due to new technologies or, more than specifically, changes at the top. A new vision, in other words.

I'chiliad talking about brands that I've never actually warmed upwardly to in the past, but suddenly I'm loving everything they do. I'thou talking about the more human being sound I'm hearing from the terminal few Wilson Audio designs thanks to Daryl Wilson, or the manner durable and experienced companies such as Sonus faber and Luxman have taken it to the next level of performance and now notice themselves at the top of the mountain, looking around to see who else is in that location.

I'1000 looking at my reference arrangement right now. Bryston Audio 4B³ power amplifier. Parasound JC3+ phono preamplifier. The Technics SL-1200G turntable I've used equally my personal reference over the last couple of years, FFS. These Sonus faber Maxima Amators, which experience like they were custom-made for my personal tastes. Five years ago, I'd be surprised if you told me I'd exist blissfully satisfied with a system containing those brands. But I am.

"Is the Bryston 4B³ ability amplifier actually that good?" someone asked me earlier in the review process. This person was concerned that they'd never really cottoned to the Bryston audio, whatever that is. I told them yeah, emphatically so. Whatever the Bryston sound used to be, forget about it.

Maybe that'south what I'd find when the erstwhile Bryston 4B cut in for a dance.

Bryston Sound 4B³

The Bryston Sound 4B³ (aka 4B "Cubed") solid-state power amplifier is a flake of a beast. It has 300 watts per aqueduct into eight ohms, 500 into iv. Information technology's a true dual-mono design, with each side sporting carve up power supplies and transformers. It's heavy, perchance a little heavier than I suspected considering it's not a HUGE amplifier. The older amp, surprisingly enough, was nearly as heavy despite having a slightly smaller internal volume due to the spaces allotted for the rut sinks.

That'southward 1 of the differences between the sixth-generation Bryston Audio 4B³ and the 4B-ST—the newer amp is cooled purely through convection which cancels the demand for "noisy fans." I ofttimes left the 4B³ on for days at a stretch, maybe longer, and when I'd touch the tiptop plate it would merely feel a picayune warm, barely so. Impressive.

The Bryston 4B³ power amplifier features the aforementioned patented Salomie excursion that is found throughout the new Cubed line. This circuit, developed past the tardily Ioan Alexandru Salomie in conjunction with Bryston, features a low-racket input buffer that's super-linear. This patented circuitry reduces RF and audio interference.

The Bryston Audio 4B³ costs $6795, which is surprising considering of its superb fit and finish, solid structure and notably skillful looks. Yous can get the 4B³ with either black or argent faceplates, and with or without "pro" racks. Mine came in silver with those magnificent handles.

Set-Upwardly

A reader but sent in a comment to PTA asking me why I don't always include a list of associated components in my reviews. While I do tend to talk about amps and speaker combos, or the different components making upwards my analog rig, I don't include that giant cumbersome list because my system is always evolving as review gear comes and goes—specially over a few weeks or months.

That said, I did keep my sound system constant during the review period so I could properly hear the differences between the Bryston Audio 4B³ and the 4B. In addition to the same Technics SL-1200G turntable (fitted with a Nasotec headshell and the ZYX Ultimate Airy Ten cartridge), the Parasound JC iii+ phono stage and the Sonus faber Maxima Amator loudspeakers, I also used the Unison Research CDE CD thespian I've had for the final decade, the BorderPatrol DAC SE-i and Merason Fretot DACs, and the Innuos Mini Zen with outboard power supply. My preamp was the Pureaudio Control. Everything was connected past Atlas Cables' Mavros interconnects and Mavros Transpose speaker cables, aided by Atlas' Grun earthing system. Power conditioning was supplied by my AudioQuest Niagara 3000, with Furutech NCF products and Les Davis Sound 3D³ constrained layer damping discs used throughout the system. And, of course, everything sits on my gorgeous equipment rack from Fern & Roby.

Whew, that was a lot. I probably forgot a couple of things, too. Now I know why I don't practice this on every review.

Sound of the Bryston Audio 4B³

As I mentioned, my first impression with the Bryston Sound 4B³ was extremely favorable, but it did also strength me to autumn back on those "trademark audio" issues. I've ever known just a scattering of factoids most Bryston products—they're from Canada, they have a legendary xx-year warranty, they're extremely reliable, and some people feel in that location'south a "dryness" to the sound. When I reviewed that Bryston B-135³ integrated amplifier, that dryness simply didn't be—or information technology was so far in the background that it didn't really thing.

I didn't hear that dryness at all with the Bryston Sound 4B³ ability amplifier. The beginning thought I had was "there isn't a matter wrong with this sound. This sounds similar a number of highly regarded power amplifiers I've used over the years." Nothing seemed amiss. This was, in the most general terms, was a top-notch $7000 power amplifier. I had no complaints, and that's non damning with faint praise either. All was well.

Over time, I did start to discover the Bryston Audio 4B³ does accept a detail sound. Again, it's nowhere nearly dry, simply it is laid-back. The amplifier was so skilful at establishing air and space and distance, and perhaps that vista of the open plains beyond the back wall of my listening room might be construed as dry to those who may not understand what the term really means.

Beyond that, the Bryston 4B³ provided ample bass, deep and layered and total of slam. Sam Minaie's double bass on Kane Mathis' stunning new anthology, Geminus, captured the essence of every note whether it was high, low, slapped, plucked or otherwise extracted. It'southward some decorated work, but the Bryston kept up and all the same provided a wonderful corporeality of inner item that still made perfect sense to these ears.

The highs were as impressive and still fastened to that idea and illusion of the open land in forepart of you. Drummer John Hadfield is enamored with the sounds of his cymbals, and I was able to get a quick fix on location within his kit, and the singled-out sound each cymbal created. I instantly idea to myself that this is a homo who makes careful choices when it comes to the individual components of his percussion ensemble. I oasis't even mentioned the chief issue, which is the exciting performances of Kane Mathis with his kora and oud. But I did in the review.

The Swap

Time came to make the large switch. I was a footling nervous. Finally, I was going to find out why the folks at Bryston wanted me to compare the older 4B to their new Bryston Audio 4B³. My get-go thought this time? It was "uh oh."

Earlier I elaborate on that, I should talk about that Bryston 4B. The first 4Bs appeared mode back in 1978, and this one was obviously from the later on ST line. Cosmetically, the Bryston Audio 4B³ trounces the older amp. Gone is the thick and swoopy faceplate and the more than avant-garde binding posts. The 4B³ is a cute example of modernistic industrial blueprint meant to accentuate your abode, while the 4B is decidedly commonsensical in appearance. One notable feature—the older amp has provisions for XLRs, which I about didn't expect.

Gary Dayton, VP of Bryston, explained his motivation for sending me this Bryston 4B-ST:

"I'll confess that my motivation for sending a wise-old-owl and spring-craven was that I wanted to spark greater involvement in our merchandise-up programme. I thought you would similar them both but certainly notice differences betwixt them. There are thousands of audiophiles out at that place still listening to their vintage 4Bs purchased new in the 70s, 80s, and 90s – a fact that we are very grateful and humbled to acknowledge. Just, we take worked and so very hard in the lab over the years to develop electronics that sound even more pure than those that came earlier. I want those vintage Bryston owners to hear what nosotros've been up to. Our xx year warranty makes it difficult for those folks to plow the old products loose, so we've designed a trade-up program that nosotros're looking to aggrandize upon this twelvemonth. A secondary do good of the program is that we'll accept stock of lovingly restored older models set to re-home. After restoration, these amps should go along to make people happy for many more than years to come. We'll sell them for far less than the cost of new amplifiers (obviously) so they make a great entry point for music lovers that can't afford Cubed Series models, or for those merely looking to explore our products.

Okay, so let's talk about that uh-oh.

It wasn't the kind of uh-oh that signaled that something was wrong. That uh-oh implied that this wasn't going to exist equally easy of a comparison as I'd wagered. I plugged in the 4B and I idea uh-oh, this amp sounds really good, as well. The 4B³ and the 4B sound similar in many ways, so you lot could honestly say that these were both Bryston amps, and they sounded similar it. The differences, however, were intriguing and unexpected.

I used 3 sets of recordings to estimate those differences: the Kane Mathis anthology, the 4 Chet Bakery reissues just released from Arts and crafts Recordings, and Masabumi Kikuchi's Hanamichi: The Final Studio Recording. That Mathis anthology, with all that intricate and boundless work on the kora and oud, would bring out each amp's ability to retrieve detail and brand sense out of complex musical passages. The Chet Bakery albums would let me know how this powerful amp does with incredible jazz performances from the late '50s, and the terminal selection would give me a chance to judge the Bryston audio(s) with a well-recorded grand piano.

Compared to the Bryston Sound 4B³ power amplifier, the older 4B sounded a little more than forrad, which tended to tame and maybe even restrict that feeling of a limitless horizon. Deep bass wasn't quite as fulfilling on the older amplifier—there was slightly less meat on the bone. Finally, Sam Minaie's double bass on Geminus was however jumping all over the place with dynamic abandon, just I felt I might be missing that final bit of particular that was hands revealed past the 4B³.

Okay, that doesn't really audio similar much of an uh-oh. The newer amp was clearly better than the older amp, correct? Wasn't that expected?

Concord on there, champ. Here's the affair: the 4B made a very strong case for itself. That more forward delivery felt just a little more engaging to me on the Chet Baker set. Baker's horn is the ultimate ballad horn, full of complex feelings that primarily focus on being poignant. These albums are all most intimacy, love and perhaps fifty-fifty a lilliputian sexy fourth dimension. I felt that connectedness with the older amp. I'one thousand not suggesting that the Bryston Audio 4B³ lacks anything in this section; I simply noticed more of that with the 4B. Over fourth dimension, I thought to myself that the 4B yet stands on its own as a powerful withal expressive amp, ane that deserves its place in the pantheon of splendid power amplifiers.

In other words, uh-oh. This isn't going to be as cutting-and-dried as I thought.

Conclusion

Remember all of those scenarios I predicted with the comparing of the Bryston Audio 4B³ and the 4B-ST? None of them practical. Hither's the existent scenario:

Both Brystons offered completely satisfying only slightly different sound. I could stick either i in my system and completely forget about the other. Mostly, it comes downward to whether yous similar a relaxed and laid-back performance (the 4B³) or something that reaches out and caresses your face while yous're listening to music.

Neither one sounded dry out. In the to the lowest degree. Let'southward put that particular "trademark sound" discussion to bed.

The Bryston Sound 4B, notwithstanding, is an amplifier that'southward completely worth evaluation if you need a powerful, well-built and well-engineered engine for your high-end audio dream machine. Aye, the 4B is still a major strength in distension in 2021.

The older Bryston Audio 4B makes a very compelling argument. It's skilful to know that you tin find one used, accept it brought upward to spec, and allow information technology power whatsoever contemporary audio system out there with finesse, clarity and ease. Both amplifiers, naturally, are highly recommended.

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Source: https://parttimeaudiophile.com/2021/03/12/bryston-audio-4b%C2%B3-power-amplifier-review/

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