Bryston 4B SSTē Stereo Amplifier
Category: Exceptional Value
The hallmark of a great audio company
is that it doesnt rest on its laurels. Five years ago, I reviewed the Bryston 4B SST power amplifier and
found it to be the most musical, and thereby listenable, Bryston product Id ever
heard. Many of the shortcomings Id heard in previous Bryston models had been
banished completely, and in their place were qualities Id never associated with the
company. So good was its performance and synergy, especially with my then-reference
loudspeakers, the Magnepan MG 1.6s, that I bought the review sample. I still find the 4B
SST to be one of the most musical power amps, solid-state or tubed, Ive ever heard,
and for five years I could think of few, if any, ways that Bryston could improve it.
But Bryston spent those years improving on what Id
considered near perfection. At the 2009 Consumer Electronics Show, they introduced the
newly designated SSTē line of power amps. Needless to say, I was interested to review the
new 4B SSTē -- I owned the original, and could compare them.
Build and design
The 4B SSTē ($4195 USD) looks very similar to the original
4B SST, with only a few subtle outward changes. First, the logo is now engraved on the
front panel with no shading, making it blend more easily into the faceplate. Next, the
rack handles are more rounded, in contrast to the sharply squared ones on the earlier
model (its also available without handles). Below the logo and above the On/Off
switch are two LEDs, one for each channel, that glow orange immediately on turn-on, then
switch to green for normal operation after the amp has stabilized. If at any point after
that they switch back to orange, its due to thermal overload -- a sight I never saw
during the review period, and never saw once in all my years with the original model. I
guess youd have to push this amp hard -- I mean really hard -- with very
inefficient speakers to reach thermal overload. Finally, Bryston has exchanged the old
rubberized touchpanel On/Off button with a new in/out pushbutton and updated the
The new models rear panel is a perfect replica of its
predecessors. You get your choice of single-ended or balanced inputs, a Gain switch,
the master On/Off power switch (with this switched On, a small amount of current is kept
flowing through 4B SSTē so that it doesnt take long to warm up), the bridging
switch, and an IEC socket so that you can try an aftermarket power cord (Bryston includes
one of their own). The binding posts accept bare wire, banana plugs, or spades.
With handles, the 4B SSTē measures 19"W x 6.2"H
x 17.5"D -- the same width as the old model, but a bit taller and deeper. It weighs a
robust but not backbreaking 50 pounds and sits on four hard-rubber feet. No fans are
needed to keep this powerhouse cool; computer-designed heatsinks of generous size run down
both sides. No matter how hard or long I pushed it, the 4B SSTē never got more than
barely warm to the touch.
Inside is where youll find the most profound changes
to this class-A/B-biased amp. Perhaps the biggest are the upgrades to the input and
feedback capacitors, power switch and soft-start circuitry, and the input RF filters.
Other important changes are the reduced point-to-point wiring and lower circuit-board
count, which should ensure even greater reliability for a famously reliable product. The
4B SSTē is rated to deliver 300Wpc into 8 ohms, or 500Wpc into 4 ohms.
Starting at the front-end, my analog setup included a VPI
HW-19 Mk.IV turntable and SME 309 tonearm with a Furutech AG-12 phono cable.
Cartridges were Lyra Argo i or Audio-Technica AT33EV moving-coils. Digital
sources were an Esoteric SA-10 SACD/CD player, Stello CDA320 CD
player/DAC, and Oppo DV-981HD universal player.
Electronics included an Audio Research LS17 line-stage
preamp and PH5 phono stage. I used my Toshiba laptop as a rudimentary music server,
connected -- via a Blue Circle USB Thingee -- to the Stellos DAC section with a DH
Labs D-75 digital cable. The Bryston 4B SSTē sat on Symposium Roller Block Jrs. on an
acrylic amp stand with cones coupling it to the floor. I connected the Bryston to the ARC
LS17 via balanced interconnects.
Loudspeakers were my Paradigm Reference Studio 100 v.3s.
All cables and interconnects were from Analysis Plus: Solo
Crystal Oval interconnects and Solo Crystal Oval 8 biwire speaker cables.
Power cables were Harmonic Technology on everything but the amp, where I used both the
supplied cord and a 20A Analysis Plus.
Accessories consisted of two three-shelf Salamander
Archetype racks; Furutech deStat; Symposium Roller Blocks Series 2+, Roller Block
Jrs., Fat Padz, Pod Points, Ultra Platform, Svelte Shelves, and an Isis
Shelf; Gutwire Notepads; Blue Circle BC6000 power conditioner; VPI HW-16.5 vacuum
record-cleaning machine; Hunt EDA carbon-fiber record brush; and Zerodust stylus cleaner.
With the introduction of their original SST series, Bryston
banished all the sonic gremlins that had kept me respectful, but not enough enamored of,
their designs to want to live with one. So what could be improved?
That was the question running through my mind from the
first time I saw the new SSTē series at CES 2009, and it nagged at me until I had the 4B
SSTē installed in my system. After a good two weeks of constant use to burn it in, I sat
down and received my answer: Sometimes, you dont know a problem exists until
its no longer there.
The first thing that hit me was the 4B SSTēs total
silence. Music emanated forth overlaid by absolutely nothing. I could hear each note as
fully formed, from initial transient through harmonic decay. This allowed me to better
understand what each musician was trying to convey with his or her playing, making them
sound more realistic in my room. Im not saying that this new Bryston amp was perfect
-- we all know that no audio component is -- but to my ears, the 4B SSTē significantly
narrowed the gap between perfection and reality.
There was more of a sense of space and the acoustic venue,
together with an even better ability to separate each instrument from the others without
ever seeming to spotlight them in any way. Whether it was a jazz quartet or a full
orchestra, I could hear each musician as an individual as well as part of a larger
whole. When it came to illuminating the musicians, it was like the difference between
artificial light and the light of day. Plus, the 4B SSTēs dynamic range was
extraordinary. These qualities went a long way toward making my music appear in my room in
a more lifelike manner.
For instance, when I listened to the new SACD/CD of
Clifford Curzons performance of Mozarts Piano Concertos Nos.21 and 27
(Decca/Esoteric ESSD 900014), the sound reproduced by the 4B SSTē was magical. The
original recording, engineered by the legendary Kenneth Wilkinson, is absolutely fabulous.
Playing it though the 4B SSTē, I found that, with my eyes closed, I could almost feel
myself at the recording session. The only sounds I heard were those of the piano, the
orchestra, and the acoustic of the recording venue. Each section of the orchestra was
neatly separated, yet never did I feel they were not performing together. Plus, all the
tone colors and timbres were presented neutrally -- my brain didnt have to work hard
to identify which instrument I was hearing, which allowed me to let Curzons Mozart
flow over me like waves at a beach. I could immerse myself in the sound with little to
distract me. The sense of clarity and resolution was outstanding.
Ive been a fan of Brian Auger since I was a teen. His
1974 album, Closer To It (CD, Fuel 30206 1 5962), was one of the anthems of my
youth. Ive worn out two vinyl copies over the years, and finally bought the CD
version, to be able to have it on my iPod. A good listen to it through the Bryston was
very revealing. Auger uses both a drummer and a conga player to support his main group of
guitar, keyboard, and bass. Through the Bryston 4B SSTē I got an excellent sense of how
each instrument sounded and how they interwove with each other to create the music
Ive enjoyed for years. Both the drum kit and the congas were completely separate
instruments, each with its own sonic signature. I didnt exactly hear anything new,
but I got a better sense of how Auger and his Oblivion Express used their instruments to
make the music I love.
If you listen to "For Heavens Sake," from
the new 45rpm reissue of Tina Brooks Back to the Tracks (Blue Note/Music
Matters ST-84052), the front line of Brooks and trumpeter Blue Mitchell switch sides
(which Im guessing is due to different recording dates). On this track, engineer
Rudy Van Gelder placed the mike a bit differently in front of Brooks tenor sax, and
theres a buzzing noise thats not audible on any other track. Without good
resolution, it would be easy to mistake this sound for a mike or system problem. Through
the Bryston 4B SSTē, I could easily tell that its Brooks blowing though the reed in
his mouthpiece. Its a little thing like this, brought forth only by top-flight
resolution, that make the music sound more realistic.
The 4B SSTēs excellent clarity, high resolution, and
deep silence made percussion instruments seem to pop out of the mix. Listening to the
huge, deep, thunderous timpani whacks on James Taylors "Gaia," from Hourglass
(SACD, Columbia CS 67912), I jumped -- even though I knew they were coming. I could hear
deep into those tremendous whacks. This well-recorded drum set sounded real in my room, as
if I were in the drummers presence.
With so much power held in reserve, music with great
dynamic range was especially enjoyable. Any change from soft to loud sounded more
realistic through the new 4B SSTē. This is important -- dynamic compression is easily
heard, and a dead giveaway that youre listening to reproduced music. The Bryston
suffered no such problems. It never lost its composure, no matter how hard I pushed it --
and I pushed the review sample to ear-splitting levels. There was nary a hiccup, much less
any audible problems. And all that power gave the 4B SSTē double-iron-fisted control over
the lower frequencies.
Another welcome improvement over the older model was a
touch of added warmth and richness. The 4B SSTē was so far removed from what some
consider the old Bryston sound that if you havent listened to one of the
companys products since the introduction of the SST series, youd swear the 4B
SSTē isnt a Bryston.
Finally, the transitions from the deepest bass through the
midrange, on to the extended top end, were so smooth as to be virtually seamless. No one
aspect stood out, but all worked together to create a more realistic and enjoyably musical
sound. And given that the 4B SSTē is a solid-state amplifier, its top end was
surprisingly open, clean, and sweet, with no touch of hardness -- all of which went a long
way toward making my listening time more enjoyable.
Now the tricky part: comparing the 4B SST with the 4B
SSTē. I wrote in my review of the 4B SST that it eliminated any sort of mechanical sound
that might have overlaid the music. Well, as I said, sometimes you dont hear a
problem until its gone. What I thought was a quiet amp is now even more so: The 4B
SSTē allowed music to flow though it unimpeded. I had also been impressed by the way the
original 4B SST handled the lower frequencies -- with the 4B SSTē, there was an even
greater sense of realistic, completely controlled deep-bass sounds emanating from my
speakers. But where Id originally said that the 4B SST was just a tad on the lean
side, the 4B SSTē added that little dollop of warmth and richness to make it one of the
most neutral solid-state amps Ive ever heard. Yet despite those additions, the new
amp lost none of the old amps ability to sort out musical lines with complete
Would I say that the owner of an original 4B SST should
find it necessary to run right out and buy a 4B SSTē? That will depend on the individual,
but I dont think so (though Im sure Bryston would be happy if you did). Yes,
there are sonic improvements, but the changes are more evolutionary than revolutionary.
Still, those improvements are real, and demand a listen before you make up your mind.
I think Im in love. An amplifier Id already
thought great has been improved without sacrificing any of the sonic attributes that made
the original so outstanding. Every difference I heard between the 4B SST and 4B SSTē was
a change for the better. While some updates can be more detriment than benefit,
thats not the case here. Its not so much a "Holy cow!" jump in
performance as the next step toward perfection: I sat down, spent some time listening, and
suddenly found myself enjoying my listening time that much more.
I knew that Bryston has always been one of the stalwarts of
the high-end-audio industry, but the improvements embodied in their new SSTē series show
that, instead of being complacent about having come up with a great product, theyll
always be on the lookout for ways to make it an even better one. Combine that company
philosophy with the backing of their 20-year warranty (yes, thats right -- a full 20
years) and, should you become as beguiled by the sound of the new 4B SSTē as I have,
youll know that youre buying a product that may very well become a family
heirloom, passed on from father to daughter or mother to son, so well built and so
wonderfully musical is this amplifier. Great audio companies build great products. With
the 4B SSTē, Bryston qualifies.
. . . John Crossett
|Bryston 4B SSTē Stereo Amplifier
Price: $4195 USD.
Warranty: 20 years parts and labor.
P.O. Box 2170
677 Neal Drive
Peterborough, Ontario K9J 7Y4
Phone: (705) 742-5325
Fax: (705) 742-0882