#Bryston

[hifilounge]

New Bryston BP-19 Preamp Now On Demo!

Hi All,

We have always been big fans of Bryston at HiFi Lounge, they were one of our founding brands and I have personally owned Bryston at home for 15+ years now and I still love it, they walk that fine line really well giving clarity, honestly and insight into any recording but with just enough warmth to keep the presentation natural and I still think in this crazy world of HiFi they give great value for money and peace of mind with their legendary 20 year warranty on analogue products.

They are not a brand to keep releasing new products but when they do release something it is always worth a listen so when the BP-19 Pre was announced I ordered one straight away so I am really pleased to say that we now have it on permanent demo and it really doesn’t disappoint.

I always feel the importance of a preamp is overlooked, a good preamp should really help open up the soundstage, give depth and height to the music, they are certainly way more than just a input switcher with a volume control. 

The BP-19 follows a long line of great Bryston Preamps, like the BP-26 and BP-17 amongst many others including the recent award winning BR-20 which was a streaming Preamp, a great sounding Pre to be honest but not everyone wanted the digital section in that so hence the BP-19, based on the BR-20 but just analogue so a great companion to the BR-20 meaning Bryston have 2 brilliant offering there and when partnered with one of their amps you really can’t go wrong.

We were running it for a demo at the weekend with the 4B3 stereo amp and PMC Fact.12 Signature speakers and it just sounded brilliant, a sound I am very familiar with as not a million miles from what I run at home.

Please find a link to Bryston on our website and if you’d like to come in for a demo at any point please feel free.

Cheers,

Paul.

[reydoll]

development on my cat women.

[kebarney]

THEEE bryson tiller is a bit... on the schizophrenic side.... maybe... bipolar.. oddball....

ima take her bougie ass to rodeo and then let her pick up whateva she want cc gucci hit bottega whateva she want !!

STOP IT. THEE bryston tiller is NAWT schizophrenic i swear 😇🙏🙏🙏

[thetepes]

Hi Bryston @faggot-billcipher

How's it hanging?

Everyone meet faggot-billcipher aka genderfluidlucifer aka criticallyalexandrite

Who has no room to talk since you're basically a clone of Lily! How did those grooming allegations against you work out for you? Since you want to talk about behavior with a minor and all...

You're just another Lily. Pathetic.

[azania-south-africa]

Views from 11th floor Bryston Heights in Durban Berea

[electricsun85]

Episode 1: red over blue

The little yellow jeep ambled towards Bryston Metro, passing vibrant neon lights and whizzing trees as a lively news jingle blared over the radio.

Jase was behind the wheel. Stella soundly asleep with her 'Beast-B; cradled in her arms, while Ichiro revelled in the thrill of hand surfing out the window.

“Good evening, good morning, good afternoon! No matter where you are, whatever you do. So many things happening in the world today,” the cheerful newsreader announced. “Whatever happens, don’t worry--! Keep your chin up—you never had any control anyway!” she added, only to be abruptly cut off by static noise.

"What’s going on?" Jase muttered, puzzled by the newsreader's unusually upbeat tone. He cranked the volume higher, hearing muffled voices ordering 'Cerys' to stick to the script.

"In today's leading story, Zandau Industries has struck gold again! The tech titan has secured another government grant package worth undisclosed millions -- potentially billions-- through suspected backdoor dealings that could fund the next phase of its Metralis project.

This groundbreaking, paradigm-shifting, mind-bending technology promises to usher in a new era of human advancement..." the news reader continued.

A brief silence. Then, panicked voices followed by rustling of papers being thrown around.

"Cerys! Stop! Is this still live!? Oh NO! No! Cut to commercial! Commercial. Now!"

“The critics? What do they know? They're resentful, uninspired souls! Vision is wasted on them!" she pressed on before being swallowed by static.

Jase groaned. “Ah! Why now? It was just getting good!” he rolled his eyes, resisting the urge to scold the radio like it personally wronged him. He didn’t want to be caught talking to an inanimate object.

Ichiro grinned, watching Jase fumble with the dials. “So much fuss over nothing”.

He wondered why Jase hadn’t realised what was behind the strange white noise that swallowed the radio broadcast.  It was Metralis.

Anything not implanted with ZM’s propriety CORD technology – anything unlinked – was affected. Fortunately, the anomalies were fleeting. Harmless, for now. 

Ichiro’s gaze drifted upward. The unmistakable superstructure of Metralis Tower East loomed overhead, casting long, shifting shadows over the suspension bridge linking the two halves of Bryston Metro. The city hummed beneath them, oblivious.

He could feel Jase signalling to him through the rearview mirror, waiting.

Ichiro sighed. What does he want now? He wasn’t in the mood—but Jase, clearly, couldn’t wait.

Raising an eyebrow, Ichiro finally relented. “What is it?”

Tell me you've seen them," Jase whispered sharply.  He knew Jase was referring to CORD implants – the neural tech fitted into machines, binding them to ZM’s vast network. No machinist -- especially not even a tinkerer like Jase could resist the urge of obtaining such a prize. Every piece of discarded tech held untapped potential.

Listen, I hate ZM as much as you," Jase snapped, catching Ichiro’s sarcasm before it fully formed. "But the machine isn't to blame—it does what is told. The system can be hacked, the connection severed, reprogramed. Once its off the grid? autonomous."

Ichiro scoffed. “You know, that’s illegal.”

Did Jase even understand what he’s playing with? While Ichiro secretly yearned for a world unshackled from Zandau’s tech empire, it was BOA Institute’s questionable actions on Metralis which haunted him.

Despite his father’s warnings, the Institute—under ZM’s directive—had pushed forward, implanting untested CORD prototypes into every mech on the assembly line. No one asked questions. No one stopped it.

"In case you're wondering," Jase began, with a glint of excitement in his eyes, "That’s what you call human ingenuity— nobody should underestimate our ability for innovation. And we will prevail! The moment we flip the script and turn their own machines against them will shift this tide in our favour. Are you in? “His voice surged with an enthusiasm that resonated deeply within the hollow chambers of Ichiro's heart. 

Ichiro folded his arms, unmoved. “Just how well do you even know your toys, Jase?”

Jase sighed dramatically. “I knew you’d say that.” Disappointment creeping into his voice. “Can’t you see?! The answers are right there, but only those bold enough to act will reshape everything! But what do you know? You’re just a kid, after all.”

Ichiro’s expression darkened. “And what if you’re the tool? Maybe stop pretending you’re not just a cog in the machine like the rest of them! His voice was sharp now, cutting. “It’s pointless. And stupid.”

Jase scoffed, adjusting the rear-view mirror to get a clearer view of his rival. “Besides, it’s not like you believe in anything, Ichiro...”

 “Why don’t you try saying that again?!” Ichiro’s voice rose dangerously. He was giving Jase one more chance to retract his words.

Jase didnt. "Well, things are moving ahead, with or without you.” A slow grin spread across his face. “ You should see what Stella’s Baezyn can do now.”

 Ichiro’s jaw almost dropped.   

“What have you done?!”

Jase saw Ichiro’s spiralling curiosity and laughed. “Relax Ichiro. I just gave it some upgrades. Don’t Tell her ok? Its the DC10 CORD implants, which is a little dated but still packs a punch! It’s on a whole new level!”

Ichiro felt sick. “How did you get them? Tell me!”

CORD implants weren’t just illegal – they were classified. BOA’s research centres kept their full capabilities under lock and key. Ichiro saw them as ticking time bombs.

Jase, leaned back, smug.  “It’s not what you know, Ichiro. It’s who you know.”

Ichiro’s gaze flickered to the backseat. Stella was still asleep, her Baezyn clutched tightly in her arms. A memory stabbed through his mind—Vermillion Square.

The chaos. The near escape. The dawning horror that Stella’s machine could be at the heart of it all.

Lashing tongues of light from a Metralis Tower leapt, as sirens wailed. Flashing lights, broken glass. Screams. People running.

And yet -- no reports, no emergency calls. The next day, a single line on the news: "A minor power outage in Bryston Metro. No further details.”

But Ichiro remembered. The moment Jase made “adjustments” to Stella’s Baezyn, the chaos stopped

Ichiro’s brow furrowed into a deep frown, “So, what happened Vermillion Square, Jase?” he waited, but Jase suddenly looked away. “Tell me you didn’t have anything to do with it.

Silence.   

Unable to contain his patience, Ichiro seethed, “What are you, crazy?! Do you have any idea how much trouble we could get into with your reckless stunts?!”

Jase exhaled sharply. “Nobody got hurt right? It wasn’t supposed to happen. It’s just a malfunction.” He hesitated. “Sorry

But then—Jase’s voice lifted, hopeful. “I’ll get it right next time. If I could just—”

“No more…” Ichiro’s voice cuts through the air like a blade.

“You don’t get it, do you? Nothing’s going to change!” said Ichiro grimly, but the weight of his words crumbled under his own voice.

Jase scoffed. “Does it make you look cool, Shiro? Being grim about everything? What’s your problem?”

“Oh, really? You want to bring this up now?” Ichiro’s voice was razor-sharp. “I’m not the sell-out here.”

Jase’s expression darkened. “Listen here, you little prick—”

As their argument escalated, the two become oblivious to notice the radio flicker back to life. This time, the voice was different. Warped. Distorted.

“…Bryston Police Department is seeking any information … “

“Shiro,” Jase continued, “One day, I hope you realize not every day is a curse, even if it doesn’t seem like it”

“…Suspect is highly armed and dangerous… involved in a string of violent attacks on teenagers….”

Do you know how much the upgrades mean to Stella? She puts her soul into her music—I'm just giving her a whole new sound," Jase insisted, and something in Ichiro snapped. “I don’t care about her stupid machine!” Ichiro shot back furiously, immediately regretting the words as they left his mouth.

“…Report immediately to the nearest police station…”

Ichiro glanced over his shoulder. And froze. Stella was staring straight at him.

 “H-hey, Stella? How… long have you been awake?” he asked, but she didn’t answer.

Ichiro was rooted to the spot, his heartbeat ringing in his ears. He should say something—anything—to explain himself, but the words wouldn't come out.

She hugged her Baezyn tightly, her expression unreadable. That silence was worse than any scolding she could have given him.

“That went very well, didn’t it?” Ichiro heard Jase say as he stepped on the gas and sped past the traffic intersection. That was when they met her.

Continue reading

[audio-luddite]

Time to check the market.

As of this morning there are 30 Solid state amplifiers between 250 to 1200 bucks listed in the national Canuck Audio Mart. Those include some Brystons, and Harmon Kardons and even a Dynaco 400. Any of those is a worthy of audiophile listening. New equivalent amplifiers just add a zero to the price.

For tube heads I double the price range to 500 to 2400 and there are 59 listed. Some are crap, actually more than half are crap. There are several Sonic Frontiers a few Dynacos and even a few Classic Harmon Kardons. None are very powerful. They typically max out at 60Watts.

Bumping the budget to 4000 finds you some actually powerful tubers including two ARC D250s.

Generally I did this to test my thesis that good transistor amps are half the price of a comparable tube amp. Sometimes less than half the price. There is good stuff out there that is equal or better than the new boutique products. New stuff just add zeros.

In Turntables from 300 to 1000 bucks there are 251 available. There are a couple of kinetic sculptures but most will serve well. I look for heavy platters and good mechanical condition. Belt drive and direct drive are my preferred, fewer moving parts and wear points. The main voice of LP mechanical part is the cartridge then the tone arm.

Preamps are a rich hunting ground. between 500 to 2000 bucks there are 250 listed. Almost all are good enough. Interesting that there seems to be an even mix of tube and solid state right across the price range.

Speakers I do not look at much. There are too many factors to the decision matrix. You have to consider your room first, then space, then Wives or Girlfriends or room-mates. Oh yes there are social factors. Price depends on how much you want to spend (or waste). I build my own and they are great.

[shaypow]

fuck my socks

I was folding laundry last week, a task so mundane it could have been the setting for a particularly dull short film. You know the type – where the protagonist doesn’t even speak , just quietly places each item in its designated pile. But you see, there was one sock, always just a little too off, always a little too out of place. It never quite belonged, and yet it never fully slipped into the abyss of "lost socks," either.

It was a blue sock, not particularly vibrant, not particularly dull, but it had a faintly magical quality about it. a quality that made me doubt my entire perception of sock existence. It seemed to shift in size depending on the angle from which I looked at it. It wasn’t a magic sock per se, no, nothing that direct. It was more like a sock that had a concept of magic, if you understand what I mean. Like it knew that i knew that i thought it might be magic but the actual magic of it was that it wasn't but it would totally make me think it was.

I had always assumed that the socks in the laundry were just... socks. A pair, a whole, destined for feet. But no. This one sock—it moved in subtle ways, in the quiet folds of my room, when I wasn’t paying attention. Maybe that’s the root of the confusion—it was never me who noticed the sock's movements. No. It was the sock who noticed me. And I think it always knew. I think it knows still.

But this post isn’t just about socks, not really. No, that would be too simple. What I’m getting at is the phenomenon I call sock recursion, which, truth be told, is a result of a complex historical event that happened in 1842 when a woman named Eleanor Gallon in a small village called Bryston-hill forgot to put the lid on her laundry basket and was subsequently visited by the Sock Harbinger, a being known only for its cryptic messages about fabric content and the souls of missing garments.

In this forgotten epoch, the Sock Harbinger made a bargain with the first laundress it encountered: if she could fold laundry with precision, in perfect symmetry, for three consecutive weeks, she would be granted the knowledge of how to find any missing sock. But there was a catch. For each sock found, one must lose a sock in return, and so the cycle would continue forever.

At the time, nobody took this seriously. People thought Eleanor Gallon was just a tad eccentric, especially when she began carving tiny runes into her washing machine (which at that time was her own arms and torso). Still, that incident of folklore, I use the term loosely, spread like wildfire through the fabric stores of the land.

Cut to the modern day. Here I was, folding laundry, half listening to a Ebook recording of Finnegan's wake. I pulled out that same sock. The one that had been evading the laundry gods for so long. And in a flash, a whisper brushed across my mind. A voice, not my own, though oddly familiar.

“Do you know where i am?”

And just like that, I was swept into the land of the Sock Realm. It’s not like a physical place, it’s more of a state of being. Imagine if a sock could be aware of its own existential crisis of having lost its counterpart. Imagine if every missing sock were a tiny rebellion against the notion of ‘completion’ itself. And somewhere within that void, like an abstract black hole of yarn and fabric, were the Sock Sentinels, who stood watch over the chaos of sock-time.

At this point, dear reader, you may be wondering how I know all of this. How could I possibly have witnessed the great Sock Rebellion of 1872, where the great sock weaver, Orson Parnsworth, famously tore the threads of his socks in half as a political statement? And how did I come to understand that the Sock Sentinels themselves are only one faction in a much larger, much more convoluted war between the Laundry Gods and the Forgotten Stains? Ah, well, you see… that’s the thing about fate. It’s all in the fold.

Now, let’s talk about the Fold. Oh, the Fold. It's the space between moments, the parallel crease in time itself. Do you feel it? The subtle tension in the air when you fold a shirt just right, as if the fabric is not just fabric but a clue in a vast cosmic puzzle?

That’s where the Socks live. They hang the fuck out there. Right in that space between our world and whatever it is they’re doing over there, in the land of unpaired socks (district of the sock realm usually out of the jurisdiction of the sock sentinels). Perhaps they’re making art. Maybe they’re writing manifestos. Or perhaps, they’re just waiting for the moment when they will finally reveal themselves to the humans who care enough to fold with precision.

That’s when it happened.

The Sock spoke. Well, no. It didn’t speak, there are no words, just vibrations. But I knew it was asking me something. And I knew it was something important. The Sock wasn’t asking for help. It wasn’t pleading for its partner. No.

It asked: "Do you ever feel like a sock that is too small for the foot it was meant to wear?"

And in that moment, I knew what I had to do. It was all clear now. I wasn’t just folding laundry. I was folding time. Folding the kingdom. folding the whole script, the whole concept.

So, I turned to the Sock. And without hesitation, I said,

“Yes, sock. Yes, I do feel that way.”

And then, with a final flicker of insight, I understood: the Sock was not just part of the laundry cycle, it was part of the human condition.

The laundry basket, the socks, the creases in time, they are us.

We fold, we unravel, we fit and stretch and get lost in the chaos of existence, never quite knowing where our other halves are. We tear and so we darn ourselves up. We fit the shoe and warm the foot. we are the same currency.

At that moment of realisation the asshole toaster decides to try and give me advice on my love life again, can you believe this guy?

[monoandstereo-matejisak]

Bryston T-10 Speakers

> monoandstereo.com http://dlvr.it/SzSffp → monoandstereo.com

[avtechnologysworld]

Multi-Room Audio Setup: Extending AV Receiver Connections to Different Zones

Modern homes are increasingly incorporating multi-room audio setups to distribute music throughout the home. A key component of any multi-room audio system is the AV receiver, which acts as the central hub connecting sources and distributing audio signals. However, receivers have a limited number of outputs, necessitating the need to extend connections to additional rooms or "zones". This blog will discuss various wiring options and technologies and av rack design software for expanding an AV receiver setup beyond the main home theater into other areas of the home.

Planning the System with AV Rack Design Software

The first step in any advanced multi-room audio project is to carefully plan out the wiring and component layout. Using av rack design software can help visualize the complete system before installation. This allows evaluating cable runs, selecting appropriate distribution amplifiers and determining the best placement of equipment in equipment racks or wiring closets. Key considerations include the number of zones, their locations relative to the main rack, audio sources to be shared and power requirements. With a thorough pre-installation plan, the wiring and setup process goes much smoother.

HDMI & Audio Distribution

For basic multi-room audio with a few additional zones, using the native outputs on an AV receiver along with HDMI and audio distribution can work well. Many modern AV receivers have at least two HDMI outputs that can send the same video-audio signal to a nearby TV. For audio-only zones, common connection options include:

RCA/3.5mm outputs: These allow connecting powered speakers, amplifiers or audio transmitters for wireless zones. But they only support 2-channel stereo.

Amazon Echo or Sonos speakers: Integrating these smart speakers and letting the receiver play audio to them via the home network. However the receiver must have network streaming capabilities.

Audio transmitters: Connect RCA outputs to audio transmitters like Chromecast Audio dongles which transmit over WiFi to compatible receivers or speakers. This provides flexibility but audio quality may be compromised over wireless.

For whole-home multi-room scenarios supporting HD audio formats, networking based distribution with matrix switching is recommended.

Networked Audio Distribution & Matrix Switching

More advanced multi-room audio systems centered around an AV receiver require network distribution and matrix switching to extend connections to multiple zones. Here are some popular solutions:

Multi-room streaming systems: Integrated solutions like Sonos, Bose SoundTouch let the receiver share audio content over the network to their proprietary devices placed around the home. But they add cost of extra components for each zone.

Networked universal media players: Players like Roku Ultra, Nvidia Shield or Apple TV connect to the receiver's network stream audio reliably to additional TVs. Requires these boxes in every zone.

Network switchers: Devices like Control4, Crestron, RTI matrix switchers distribute HDMI or digital audio from the receiver over the LAN to compatible endpoints in each room using IP or CAT cabling. Very flexible but expensive to implement properly for whole home.

DSP amplifiers: Digital signal processors like Bryston or Datasat take multi-channel digital audio from the receiver over CAT5/6 cabling. Their built-in amplification powers distributed speakers. Scalable but labor intensive to install long cable runs.

No matter the solution, running CAT5/6 cabling throughout the home during construction allows for the cleanest, highest performing networked multi-room system that can evolve over time.

Audio Extenders & IR Control

Rather than relying on the network to carry audio between the main room and distant zones, dedicated balanced audio extenders provide an alternative. Companies like Quantum, Niles and Sonnex manufacture popular balanced line drivers and receivers to extend analog or digital audio signals over greater distances.

Extenders offer simpler installation than network distribution when wiring multiple rooms. They also maintain uncompressed audio quality over long cable runs compared to network streaming. Drawbacks are higher up-front cost and inability to centrally control zones from smartphone apps without additional integration.

For full remote control capabilities in distributed zones, integrated IR/RF systems help extend signals from the main room control to remote sensors. Solutions range from basic IR blasters to full-fledged control processor systems from companies like Control4. These allow controlling volume, input selection and playback functions in synchronized zones from a single main room controller.

The Final Touches - Finishing and Calibration

Once the distribution method and all cabling/wiring infrastructure is in place, the final steps involve connectivity verification, system configuration/programming and calibration:

Connecting distributed electronics like amplifiers, streamers and ensure digital/analog audio signals are routing properly between main and secondary rooms.

Programming the multi-room controller or matrix switcher software to name and group zones, set input mappings and automate scenarios.

Calibrating levels, delays and crossovers for each speaker zone to achieve proper volume level matching, phase alignment and frequency response throughout the house.

Paying attention to these final details will result in a seamless, high fidelity multi-room system that delivers consistent, engineered sound quality to every corner of the home. With the right planning and components, whole home distributed AV is achievable for both integrators and advanced DIY enthusiasts alike.

Conclusion

Whether distributing a few additional zones or wiring an entire smart home for centralized multi-room control, extending an AV receiver setup requires evaluating distribution technologies suited for the specific project scope and existing infrastructure. With traditional wiring, networked integration or hybrid approaches, creative solutions exist for any home's unique multi-room audio needs. Careful planning and high quality execution allows building advanced yet reliable distributed audio systems for ultimate home entertainment enjoyment.

[hifilounge]

All Set For Tomorrow's PMC Prodigy Open Day!

Hi Everyone,

Just a quickie to say that we are all set for our last Open Day of 2023, couldn’t think of a better one to finish on than with PMC Speakers showcasing their incredible Prodigy 1 and 5 speakers, have to say they really do sound amazing, especially the 5's in the Naim room, how they fill such a big space for such a small speaker I have no idea, everyone is in for a real treat tomorrow 👌 Then at the other end of the spectrum we have the Mighty PMC Fenestria’s rocking with our dCS Vivaldi One and Bryston 28B’s behind them, gonna be a good one, please feel free to come along to see the year out in style 👍 Cheers,

Paul.

[syntaximg]

理想は、パッシブ、アクティブ、アクティブの3セットです。 ニアフィールドには、それほど高価でないけど今となってはなかなか手に入りにくいYAMAHA NS-10がいいです。アンプは非常に自然で色付けがないことからBryston 4BかCrown XLCシリーズを用意し、カスタムメイドのスイッチでA/B切り替えして使い分けたいです。 2つ目のスピーカーは、ミッドフィールド的な感じで、名機GENELEC 1032の流れを受け継ぐ8050Aがいいです。専用スタンドを使って高さ、横幅ともにベストなスイートスポットに設置します。 3つ目のスピーカーはモニターのNEUMANN KH420です。これはウーファー、ミッド、ツイ-ターの3wayで、再生周波数帯域は26Hzから22,000Hzです。これに、歪みのないタイトな低音を再生してくれるサブウーファー NEUMANN HK 810を追加します。 (Rock oN CREATOR’S CHOICE ~夢の最適最強プラン~「モニタースピーカー編・Enrico Sesselego氏」 | Rock oN Company | DTM DAW 音響機器から)

[toptenknowledge]

Top 10 Power Amplifiers Brand in The World

Top 10 Power Amplifiers are an essential component of any audio system, and they come in all shapes and sizes. From the tube-driven behemoths of yesteryear to the sleek and efficient Class-D models of today, power amplifiers serve one critical function: to amplify an audio signal to a level sufficient to drive speakers. There are a lot of brands out there that make power amplifiers, but not all…

[audiovenue]

D’Agostino Progression M550 mono blocks, now installed in their forever home. Along with some other upgrades. . #pureaudio #luxurylifestyle #dcs #ultimateaudio #supremehifi #luxuryaudio #luxuryhifi #progressionm550 #m550 #clearaudio #dagostinoamps #bryston #listeningroom #audiosystem #bespokeaudio #proac #bcdengineering #dcsbartok #bartokdac #highend #sounds #audiovenue #ealing #maidenhead #hifi #hifiroom #krell #listeningrooms #luxuryhifi #audioluxury #dcsonlythemusic , @dcsonlythemusic . @dagostinoamps . . . @krellav (at Audio Venue) https://www.instagram.com/p/Cchiy-Vsd22/?igshid=NGJjMDIxMWI=

[taww]

Review: Bryston 4B Cubed Stereo Amplifier

Bryston 4B Cubed stereo amplifier

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 4.5 / 5

An honest, refined and easy-going amp that may leave many questioning if they need more.

PROS: Clean, smooth and clear with a hint of warmth; effortless power; superb bass; bulletproof engineering, build and operation; that 20 year warranty.

CONS: Excruciatingly long break-in; not as lively or dimensional as some of the audiophile competition; balanced input seems slightly compromised.

Bryston is a name that needs no introduction, and the company’s popularity is obvious every time I post anything about them on social media - those posts consistently get a ton of likes and comments. Perhaps for this reason, along with Bryston's no-nonsense pro audio heritage, elitist high-enders seem to shun the brand as too mainstream and un-audiophile to be taken seriously. This hasn't stopped their latest Cubed series of amps from garnering some solid reviews since its introduction in 2016, with some proponents in online forums putting it in the conversation with some of the more revered high-end amps under $10k. I was intrigued, and thanks to the graciousness of Bryston's James Tanner and their US marketing rep Micah Sheveloff I was able to spend a full year getting to know one of their most popular models, the 4B Cubed (MSRP $6,695), along with the BP-17 Cubed preamp. Read on about my long but rewarding journey with this workhorse.

Design, Features & Usage

Compared to typically-spartan, even downright crude high-end amplifiers, the Bryston 4B Cubed (4B3 in shorthand) has a number of nice features:

Switchable unbalanced RCA and balanced XLR inputs

Low (23dB) and high (29dB) gain settings

Bridged mono operation

Soft start with remote trigger option

The distinguishing aspect of the Cubed series vs. Bryston’s previous line (e.g. SST2) is the Salomie input buffer. Co-developed with the late Ioan Alexandru Salomie, the circuit is said to reduce noise and distortion by 10x vs. the previous implementation and excel at immunity to RFI and power supply noise, a critical factor in today’s world where literally every device imaginable has a microprocessor and/or switching PSU buzzing away. Much has been written about the circuit in other reviews and the objective proof is in the 4B3’s superb measured performance - 0.005% THD and > 119dB S/N at full power (300W) across the entire audible spectrum.

I got the amp in black, with standard 17” front panel (no rack handles). The status LEDs glow green, but apparently this can be internally changed to blue if the customer prefers. I found the remote trigger feature quite handy when paired with the BP-17 Cubed preamp, and the switchable inputs useful for preamp/interconnect comparisons. The binding posts are of the standard 5-way insulated variety to meet EU regulations, and worked well with different sized spades. An extra pair of posts would have been nice to aid bi-wiring or my REL subwoofer hookup.

All business inside.

The 4B3 consumes a reasonable 60 watts powered up at idle - certainly not EPA EnergyStar territory, but about the same as my 60 watt Ayre AX7e integrated and just warm to the touch thanks to the generous heatsinks and extensive use of aluminum. Ecological concerns aside, I had no qualms leaving it running 24-7 in an open shelf with just a few inches of clearance above. Should you decide to do the green thing and power it down between sessions, the 4B3 consumes under half a watt on standby, and powers up quickly and smoothly. You'll hear the distinctive clicking of the soft-start circuit, and sound will start flowing within a few seconds. From a cold start, the sound takes about a half hour to get the juices flowing, and maybe an hour to reach full potential.

Setup

Preamp: I had the good fortune of having 3 very different preamps on hand during my time with the 4B3 - the companion Bryston BP-17 Cubed, the tubed Valvet Soulshine from Germany, and the Pass XP10. I found the Bryston pre to be a reasonably good match, but the Pass and Soulshine were simply better musically and both worked well, my top choice being the Pass. The 4B3's RCA input impedance is on the low-ish side (30kΩ), not the 100k+ that many tube pres seem to favor, so something to keep in mind when matching. The Soulshine did just fine, others may not.

Balanced vs. unbalanced input: for some reason, I preferred the sound of the 4B3 through its unbalanced inputs, save with the Pass preamp which doesn't fare as well unbalanced. It's hard to control for all the factors, but I had identical model of cable (DH Labs Air Matrix, Audience Au24 SX) in both RCA and XLR, and contrary to expectations I found the RCA input to sound fractionally more open and dynamic, and equally as quiet. Normally balanced operation affords you these qualities but I heard no such advantage with the 4B3. One clue is in the specs, which show drastically different input impedances for the balanced terminals - 30kΩ for positive, and a shockingly low 6kΩ for negative. This seems to indicate that it's not a differential/complementary input circuit like you'd find with e.g. Ayre or Pass, and I'd imagine this lack of symmetry compromises CMRR and some other benefits of balanced operation. I inquired with Bryston about how the circuit was implemented but didn't get a response.

High vs. low gain: Some people have commented that you can "tune" the sound of the Bryston, with the low gain (23dB) setting sounding a bit smoother and more laid back, while high gain (29dB) is more dynamic and detailed. I agree they sound different, but I had a different take: to me, high gain sounds transparent, and low gain sounds subtly dulled and veiled. For me it's a no brainer - unless absolutely necessary to attenuate, I'd always use the high gain setting. It simply sounds more truthful to me. I also inquired whether the low gain setting adds an additional attenuator in the signal path (it sounded like it to me) but again, I didn't hear back.

All the preamps, plus a DAC.

Bridged mono operation: I didn't test it, at least not intentionally, as I only had one amp on hand. I did accidentally flip the bridging switch once during playback which fortunately did not cause anything to explode. One note: if you do bridge it as a monoblock, be aware the input impedance drops to a very, very low 7.5kΩ, which I imagine will make some preamps quite uncomfortable.

Power cord/conditioner: The Bryston comes with a standard but appropriately-heavy 14-3 power cord, and it sounds quite good with it and wasn’t particularly fussy about changes. That said, I felt it was really locked in with the latest version of the Twirling Gerbil Red Electrum, a really fascinating cord made by our own MGD - bass became even more grounded, the soundstage locked in place and everything just clicked. Given that this cord isn’t readily available though, I’d say it’s worth trying a few different things (e.g. the Audience powerChord was a bit nicer than stock) but don’t worry too much - as long as you don’t use something gimmicky or too light, your amp is still going to sound good. One thing was clear though - the Bryston perferred being plugged directly into the wall vs. my Audience ar6 TSSOX conditioner. Even though the Audience is designed specifically with low impedance and high current delivery in mind, the Bryston felt constrained running through it - give it as direct a connection to the wall juice as possible.

Speaker cables: I got the impression that the Bryston prefers having a very direct connection to the speakers, working better with the heavier gauge cables I had on hand like the Cardas Clear Light or DH Labs Q-10 Signature (both 10 gauge or larger), vs. the Audience Au24 SX. I have a completely unsubstantiated theory that high damping factor amps employIng more negative feedback are more effective when there’s less between them and the speakers, whereas low/zero feedback designs (e.g. Pass or Ayre) don’t care as much and are more amenable to being tuned/voiced with lighter cables. Whatever the reason, I’d recommend sticking to the heavy stuff to maximize the Bryston’s grip on the speaker.

Speakers: I had a few speakers on hand, all of the 2-way monitor variety - Silverline Minuet Grand and SR-17 Supreme, Audiovector SR-1 Avantgarde Arreté, Role Audio Kayak. I really wish I had had a big 3-way floorstander as I’m sure the Bryston would have flexed its muscles and flourished wrangling a big speaker. My comparatively small speakers don’t provide that much of a challenge, all being amendable to low power tube amps. That said, the Bryston showed no favoritism towards any particular speaker - its voicing is essentially neutral and you’ll hear what the speaker is capable of. This is in contrast to my Ayre AX7e integrated, which clicks with the Silverline while sounding thin and unengaging with the Audiovector. I really did not think the Bryston would work at all with the Audiovector, an ultra high-resolution speaker that will megaphone any solid state liabilities like brightness, hardness or lack of body, but the Bryston impressively held its own with the unyielding Dane. I wouldn’t call it the most organic or emotive pairing, but they were quite agreeable working together. The Silverline SR-17 Supreme with Cardas Clear Light wound up being my preferred pairing, the combo bringing out wonderful midrange density and great dynamics, and most of my listening notes below reflect that setup.

Pure conjecture - I think the Bryston would be killer with a speaker like the Role Audio Enterprise - something a bit on the warm side with an silky-smooth but still-detailed soft dome tweeter that complements the transparency of the 4B3, and with some meat on the bottom end that could take advantage of the amp’s grip and power (I'm a fan of Role’s transmission lines). I’d also be curious to hear the 4B3 with a relatively inefficient but neutral speaker like something from ATC - that could be a good one, and ATC has a similar pro-audio pedigree. I’d steer clear of pairing with more forward/harder-sounding speakers, e.g. Focal Sopra or B&W or Paradigm Persona - not because the Bryston does anything wrong, but I frankly find those speakers with their metal/diamond drivers and higher-order crossovers too brittle and aggressive and in need of something more laid back (e.g. Naim) to sound anywhere near balanced.

Counterpoint: a reader reports getting great results with the 4B3, Focal Electra speakers and Crystal Cable with primarily hard rock and metal. I could see how the qualies of the 4B3 would click in such a system, particularly with harder-driving material.

The Sound

Out of the box, things were not promising. Compared to the Ayre AX7e I had been using for some time, or even an old Bryston B60 integrated, the 4B sounded drab. It wasn't bad per se, but everything was a little lacking - dynamics were a little flat, soundstage lacked depth, highs were a little glazed, midrange wasn't very dimensional, etc... even my wife couldn't help but comment, "this sounds boring." I saw a comment online describe the 4B3 as "gray," apt given what I was hearing for the first several days. A couple weeks later things were slowly improving, but not to the extent I was hoping. I was starting to get a little nervous about the conversation I'd be having with Bryston.

I fought the urge to swap other amps back in, and fortunately things continued to get better - much, much better. Despite having 100 hours of burn-in at the factory, the first 100-200 hours in my system were not at all representative of what this amp is capable of. After a month of continuous operation, virtually all of the aforementioned detractions had largely faded away; after 3-4 months and perhaps 500+ hours of music, it really started to push all the buttons. All my comments henceforth shall refer to the sound of the 4B after 6+ months in my system, and are representative of the long-term ownership experience.

With that out of the way... a standout aspect of the Bryston was how it delivered its obvious power with an easy finesse and speed. The Bryston sounds good for every one of its rated 300 watts (and actually more according to my unit's factory spec sheet)... this is an amp that revels in being cranked up, and the more watts I asked for the better it seemed to sound. But it also delivered those watts with delicacy and articulation, effortlessly revealing tons of musical detail in recording after recording without the typical detractions of high-power solid state - the glazed or harsh treble, the hard or murky midrange, the lack of rhythm and pulse. It was equally at ease floating Magdalena Kozena's vocals over delicate period accompaniment on a Mozart Aria, as it was hammering out the bass line of a Depeche Mode track. The 4B3's ability to reproduce music at realistic volume levels without strain or loss of transparency was addictive and had me cranking up number after number and pushing the limits of my neighbors' tolerance.

The treble was surprisingly delightful. In the past I've found big Bryston amps to lack refinement and resolution there, but the 4B3’s highs caught me off guard with how silky and delicate they were. Violins had just the right amount of brightness, bringing out the steeliness of the E string without sounding tinny, and triangles had realistic tinkle without popping out of the fabric of the soundstage. There was enough detail to do justice to the extremely high resolution AMT tweeters on my Audiovector monitors, but at no point did the 4B3 come close to burning my ears off the way some detailed amps can. Compared to the ol' Bryston B60 integrated, a longtime favorite that sacrifices some detail for sweetness and musicality, the 4B3 has far higher resolution in the upper registers that will bring out more energy without glare. There's no euphonic give in the high frequency response either, so if you need an amp that'll take some zing off a problematic tweeter (metal domes, I'm looking at you), look elsewhere.

Another nice surprise was how smooth and grainless the 4B3 was in the midrange, with just a hint of richness in the lower mids on things like cello, baritone, french horn or piano. It's subtle, and nothing like the bloom you'd get from a tube amp, or the coziness created by the Bryston B60 for that matter - just enough to balance out the transparency and power of the frequency extremes and keep the otherwise ruler-flat response from sounding too dry. Bryston claims the 4B3's quad-complementary output stage "mimics the characteristics of a Class-A design, but with dramatically lower distortion"; while it's not as round and juicy as true Class A designs like the Pass Labs XA30 or Valvet A4, it does approach their naturalness and smoothness much more than I'm used to from a high-power Class AB amp. I've found most gear that isn't blatantly colored to tend toward the leaner side these days, which can really put you in a pickle if you don't have something to balance it out. The 4B3 has a relaxed, generous quality to it which will help keep your system from getting too lean and bright, one of the more common traps of a modern system. I think this character of the 4B3 is summed up well in Christian Punter's extensive review on hifi-advice.com, and while I wouldn't go quite as far as he does, my listening observations largely align with his.

That warm, smooth quality might sound at odds with neutrality, but unlike some amps I've heard (ahem tubes) this came without biasing or distorting the sound in any particular way. Tonality of woodwind instruments in particular was spot-on, with the timbre of reed instruments - oboes, clarinets and bassoons - coming through distinctly and realistically. The wide variety of instrument timbres in a symphony orchestra are the toughest test for any gear and at no point did I pick up on anything nasal, bright, muffled or otherwise colored with the 4B3. True to its pro audio heritage, it gives the sense of telling it like it is with minimal editorializing and exceedingly low distortion.

Bryston makes much of the extensive lengths it went through in the Cubed series to both minimize internally-generated noise while maximizing rejection of external sources (e.g. RFI and power line noise). Whatever they did, it worked a treat. While the 4B3 is quiet at idle - with no input and your ear pressed up against the speaker, there's barely any hiss and zero hum - it's really the lack of audible noise and grain imparted on the signal that makes it sound so true and clean. Most solid state amps, including the older Brystons, always sounded a bit cloudy and grainy compared to the likes of Pass or Ayre. With the Cubed improvements, much of that has been scrubbed away, giving music a newfound sense of openness and purity approaching those venerable marques. Combined with fast, clean attacks, everything comes across with great clarity. Jason Kennedy describes this quality, along with all the usual British flourishes about PRaT etc., better than I could in his excellent review for The Ear - I recommend giving it a read.

The 4B3 also produced some of the best bass I have heard in my system. I've known Bryston amps to have big bass, but perhaps lacking in subtlety and definition. I found the 4B3 to be powerful for sure, but also tight, fast, and musically balanced. It was deep and tuneful, creating a feeling of unflappable stability with big orchestral music and heavy rock tracks. Sometimes amps with very high damping factor can sound lean, but the Bryston complemented its slam and control with just enough juiciness and resonance. String bass sounded full and tuneful without bloat, bass drum whacks had realistic impact, and pop/rock tracks had relentless drive. Some Class D amps I've heard capture pitch a bit more evenly (maybe due to their switching power supplies which reduce 60Hz colorations), but the Bryston is nearly their equal in that regard. It gripped the 6" woofers of the Silverline and Audiovector monitors and coaxed low notes of remarkable clarity and power within their physical limits.

Nits & Comparisons

Okay, so what doesn't the Bryston do right? Mostly little flaws of omission - subtle things that seem like fluff to non-audiophiles, but that the fanatics among us go through inordinate lengths and expense to obtain in the name of musical nirvana. While it's very detailed, it does gloss over some fine instrumental texture and spatial cues. While it's plenty dynamic, there are more organic sounding amps that convey more emotional swing and nuance - the electrifying climaxes of Maria Callas in a Puccini aria, the ebb and flow of the Vienna Phil in a Strauss waltz, the emotional surge of cellist Alisa Weilerstein in the Elgar concerto. While its midrange is very smooth, it doesn't have the liquidity of a fine tube or Class A solid state amp that makes instruments flow from the recording to your room. And its soundstage is a tick or two less deep and open, its images less dimensional and tactile than what those amps can convey.

Things got a little out of hand with the comparison testing...

For the most part, these are things you need to pay a lot more money to obtain, but some aspects can be had in this price range. E.g. the $4k (before it was discontinued) Ayre integrated gets more of the presence and immediacy of a voice, the sense that there's less between you and the performer - little nuances like clarity of diction, articulation of a bow stroke, pauses between phrases are a hair more convincing. Some people call this "inner detail" - not the obvious stuff, but the little things. The Bryston was a little laid back by comparison - not veiled, just less forthcoming - which will likely come as a relief to those with an aversion to harsh, forward solid state sound, but it's an omission nonetheless. The flip side is the Ayre pushes a bit too much in the other direction, sounding a little on edge and over-articulate compared to the unflappable Bryston, particularly with hyper-articulate speakers like the Audiovector. The 4B3 also has a more solid "core" to its sound - a sense of solidity and anchoring in the midrange. This is most apparent with notes around middle C (262Hz), where the Ayre lacks the natural weight that the Bryston captures nicely without sounding heavy or slow... again, a very endearing quality to those traditionally allergic to solid state.

An amp that made for a fascinating comparison was the Valvet A4 Mk. II ($8k) - a handmade, Class A solid state monoblock from Germany with minimalist circuitry and real soul. Despite being rated at just 55W/8Ω, with a reasonable load and volume level the Valvet sounds just as capable of macro dynamics as the Bryston while being noticeably more expressive within the melodies and more holographic with its soundstage. Tonally they were surprisingly close, both sounding full bodied in the midrange and extended in the treble. But the Valvet really has a way of projecting a compelling image and conveying a natural, singing quality that showcases the beauty of a tune and really pulls at your heartstrings. The resonance and ring of a soprano or flute, the halo around solo instruments, the height of the stage, the harmonics of an oboe - the Valvet captued these nuances with an uncanny ease and conviction that made the Bryston sound a little restrained and disconnected by comparison. However the Valvet doesn't have the same slam in the bass, won't drive as wide a range of speakers, and will run out of steam well before the Bryston even comes close to breaking a sweat.

I'll have more to say about the Valvet in its forthcoming review, but this isn't meant to be an indictment of the Bryston in any way - on the contrary, it proved itself a very fine sounding and satisfying amp, and I was impressed with how well it held up musically to a very special, highly tweaked-out audiophile amp costing over $1k more.

Verdict

Maybe I'm not talking to the right people, but the Bryston 4B Cubed seems to be flying under the audiophile radar. It's a very, very good sounding amp - great, even. Once properly run in, it possesses a subtly smooth and warm sound with none of the coldness or harshness one might be prejudiced to expect from such a powerful and practical solid state amp. And while not cheap, it's downright affordable compared to the astronomical price points in today's high-end market. It would be my absolute first choice for a combined music/home theater system, where it would have all the power and reliability to handle the needs of TV/movie watching while having plenty of refinement for music.

So it doesn't resolve the last few degrees of detail or stir the musical soul quite like the better high-end amps - the fuzz of the peach, the inner glow, the transcendent insight, whatever you want to call it. But those amps generally cost much more and/or have other limitations and compromises. For under $7k, the Bryston gives you musically satisfying reproduction that's easy to live with, and it will probably outlast every other piece of gear in your system. It's also a sound investment, maintaining resale value far better than average thanks to its durability, exceptional factor service and support, and of course that 20 year warranty.

Overall, I'd give the Bryston 4B Cubed 4 stars purely on sound quality, 5 for value, netting out to 4.5 stars overall. It's an amp you can set up and forget in most any system and just enjoy for years, and I came very, very close to purchasing the review unit. Ultimately my quest to get every last bit of that fuzz on the peach led me to continue my search for a reference amp, but there are times I wonder if I should have hung onto it... particularly now that I've moved to a larger space that could really benefit from the power, I have some pangs of regret sending it back. I enjoyed my time with the Bryston 4B Cubed and highly recommend giving it a listen - it might just be all the amp you need.

Many thanks to James Tanner @ Bryston and Micah Sheveloff @ WIRC Media for their generous loan.

[electricsun85]

Episode 1: red over blue

Leaning against him, Stella slipped on her headphones, letting the cool night breeze ruffle her hair. Night had fallen over Bryston City; stars twinkled in the sky, and beneath the flicker of streetlights, two teenagers were just killing time, relaxed slumber as the rest of the world marches on.

“Ichiro’s been unwell; that’s what I’ve been telling them, “She grinned, her eyes flickering up at him, happy to be the secret accomplice he hoped she'd be.

Ichiro groaned dramatically, clutching his chest like a dying soldier. “Gimme a break! Its only been three days.” He coughed –loudly and theatrically —but Stella wasn’t buying it.

“Hm? A fever? A stuffy nose? Or is Ichiro suddenly highly contagious?” She slowly poked him in the ribs, her lips curling into a playful grin.

 “Are you sure nobody's going to  find us here?”

“Someone might; wouldn’t that be a problem?” Ichiro snickered, looking at her direction.

But Stella didn’t look amused. She sighed, putting her headphones back on and ran her fingers tracing the strap of her bag. The way she shifted – almost subtly – made something tighten in Ichiro’s chest.

“There won’t be anyone coming for me. But maybe it’s better this way,” she murmured, but the quiver in her voice gave it away.

Ichiro turned to face her fully. “Don’t you parents know? Have they called?” Her eyes dug deeply into Ichiro’s, daring him to take a wild guess.

Before he could respond, Stella cuts in, “But it’s no big deal. I’m in Ichiro’s world now,” she chuckled, fluttering her fingers playfully at him.

He studied her carefully. He knew Stella better than anyone – like the back of his hand. But Stella knows her way around. She feels she’s good at covering her tracks. And nobody could tell how deep these waters run from the surface – not even Ichiro.

“This girl…” muttered Ichiro, inhaling as he looked away. He lets it slide. For now.

Their hideout was the one place they would escape to. After school, after everything, they always end up here -- a silent agreement between them. They were inseparable. It was easy to assume they were together, but they’d laugh it off at the slightest suggestion.

Their friendship wasn’t a secret, it flows mutually, with no loose ends and runs free like a calm, lazy stream. It was expected – even ordinary.

Taking aim, Stella pointed her finger-gun at the sentry at sea, narrowed her eyes, and lets one fly.  “Pew… pew” she bared her teeth and ‘pulled the trigger’ at the target—like she looked real-cool.

Seeing her reminded Ichiro of the phenomenon he saw earlier. "Hey. Did you see anything? Like something weird?"

Stella blinked hard but it seemed the question flew over her head. "Hmm? Like what? Oh, you mean Jase? Na, but he's prolly on his way"

"That's not what I..."

"Yo. You mean the shooting star? Pretty rad huh? Bet you got best view all the way up here," sneered a male voice, nearly giving Stella a heart attack.

Emerging from the shadows, a young man in his early twenties, piercing eyes, dark red wavy hair, strolled towards them with a wide grin on his face.

"Very funny, Jase," Stella muttered, brushing her fringe aside. Her fingers twitched, eyes darting for something—a twig, a handful of dirt, anything to fling at him. But before she could, Ichiro cut her off, stepping between them.

Stella smoldered silently, rolling her eyes as Ichiro strode towards Jase who was lighting a cigarette.

“Good to know I’m not the only one,” Jase muttered, exhaling smoke through his teeth.

Hearing him, Ichiro felt a wave of relief. He was about to ask when—thump—a plastic bag smacked against his chest, the weight of it shifting in his arms. Inside—wrapped meals for two.

Ichiro frowned, slightly annoyed at the interruption. He knew Jase often brought dinner from the deli where he worked, but he wasn't really hungry.

 "What are you looking at? Eat up," Jase said curtly, flicking his St. Regis cigarette into the breeze. But Ichiro knew better -- Jase hadn’t come all this way to bring them dinner.  

"Did your rounds?" Ichiro quipped. They exchanged silent glares before Jase turned his attention to  the graveyard of forgotten tech sprawled behind them—twisted metal, half-formed machines, the skeletons of abandoned projects. If anyone could see worth in these junk, it was Jase. The self-taught scavenger. The one who saw potential where others saw garbage.

Digging through the 'unholy grail of forbidden technology' was a risk. But to Jase, it was a challenge. He would spend hours in his workshop, building odd little robots, and custom mech kits from whatever scraps he could find.

Seeing Jase's dejected figure, Ichiro offered: "Need a hand?"

"Nah its fine!" Jase snapped back, his grip tightening on the sling bag as if his life depended on it.

 That’s funny, Ichiro thought.  What was that all about? He wasn’t really interested in whatever Jase was hoarding in that bag.    

"Found anything cool? We can help" Ichiro offered with Stella leaning over his shoulder, peeking into the meal bags curiously.  Jase scoffed at Ichiro’s sudden enthusiasm about joining his foray for mech parts into the dead of night.

“Look, we can go for a quick drink somewhere soon, but you two are going home straight after this,” Jase declared. 

" I know what they look like,” Ichiro insisted, trying to sweeten the deal.  If only there’s a way to convince Jase – there’s so much they all can do together instead of going straight home.  How boring!

"I've got my own problems, Ichiro. And I'm not getting myself in another shouting match with that shhi...old teabag! ," insists Jase.

"Tell me, this isn’t about Ichiro's dad again," Stella groaned. Ignoring her, Jase trained his eyes at Ichiro as if to drive the point home, but it was hard to take him seriously.

"It’s Mister Masato, isn't it?" asked Stella. At the mere mention of the name, Jase threw his arms in exasperation, cursing under his breath.

“Can the two of you ever get along?” Stella laughed, clearly enjoying Jase’s frustration.  

“Hey, I didn’t start this,” Jase huffed, jabbing a finger in their direction. They let him vent, let him work himself up until he was practically quaking with frustration. It was a drama series they knew well—Jase could act like the victim all he wanted, but he wasn’t entirely blameless for the protracted cold war with the old man.

Then, as if remembering something, Jase narrowed his eyes. “Shiro,” he said suddenly. “Is your dad still with the Institute? BOA?”

Ah. He went straight for it, Ichiro thought in his mind, unsurprised. Though it was almost impossible for the two to agree on anything, Jase had an unhealthy interest in Ichiro’s father –Masato Mizota, founder of BOA, the leading agency behind CORD technology, the kind of classified research that got people in trouble.

How could he forget his father’s endless rants about his work at BOA Research Institute? How it consumed him, pulled him deeper into projects Ichiro barely understood—until it tore his family apart.

 His father had spent years obsessed with CORD, overseeing top-secret mech developments, testing new prototypes—until they cut him out. Ichiro had no doubt his parents’ split ways, in part, due to that relentless career.

And yet, even now, CORD was still a problem. Obsession had a way of spreading, and it leads to unforeseen consequences.

Ichiro exhaled slowly. “So what? He’s been out of the loop for years. Its nothing special.”

Jase frowned. “Don’t be ridiculous. Masato must know a thing or two about the Institute’s new breakthroughs—”

Ichiro sighed. He really wasn’t in the mood for this conversation. Unfortunately, Jase wasn’t the type to settle for value answers.

“What about it?" Ichiro asked tiredly. “Metralis,” Jase pressed. “What do you think they’re running in there? You think CORD has anything to do with it?”

Ichiro hesitated. They were both watching him now, like kids around a campfire, eager for a ghost story.

He stalled, stepping on a stray branch, waiting for the satisfying snap before answering, “BOA has gone way past research.”

“Don’t you know? The new UNV mechs – they all come equipped with CORD now.”

“And CORD implants were developed from codes decrypted from Metralis?” Jase asked, eyes gleaming.

“That’s right. They’re calling it a breakthrough. Technology that will change the world.”

“But couldn’t they just upgrade the previous models?” Stella asked, mystified.

“They could have.” Ichiro’s voice darkened. “But these new variants – rebuilt entirely with AVEX upgrades and CORD, fused with barely understood Metralis tech – falsely passed safety tests before they were cleared for the production line,” said Ichiro.

And Jase started to lose interest. Ichiro could see it in the way his shoulders relaxed, the way his attention span veered off the rails. Typical. 

“Right. Nobody wants to talk about the risks of CORD,” Ichiro sulked.

“So,” Jase prodded. “Is your dad still involved or not?”

Ichiro groaned, rubbing his forehead. 'Why don’t you ask him yourself?'

All I know is the board (BOA) is parading it like it’s all them,” Ichiro fumed, kicking a soda can at the wall.

Jase, sensing the shift, tried to lighten the mood. “How’s that backpacker hostel doing? But he can’t be doing that forever; he’s gonna to get back to it one way or another”

Ichiro shrugged. “I don’t know, and I don’t care.”

He couldnt quite grasp why his father still fawns about his glory days at the Institute which were long gone.

“Mr. Masato left BOA ages ago,” Stella reminded him. “He didn’t quit,” Ichiro corrected her. There was more to the story, but he wasn’t ready to spill it.   

 “Why are we even talking about this? “He asked exasperatedly. Slowly, Stella lifted her finger at the main suspect with fiery red hair, and Ichiro couldn’t help but laugh.  

"Its not going to eat itself” Jase said , eyeing their meal bags impatiently. The mixed rice and stew seemed fine -- until Ichiro noticed two little red packets. “This is chili, isn’t it?” Ichiro’s face twisted in disgust.  Stella and Jase exchanged glares as if blaming each other —did somebody forget Ichiro's zero tolerance for spicy food? Annoyed by his Ichiro’s complaints, Jase replied, “Then don’t open them, Ichiro.” Stella grinned at their playful bickering; a hot meal on a cold night with these two -- perfect.

 As the night deepened, the ominous Metralis Tower South loomed afar, its secrets hidden within its metal cladded superstructure.  Ichiro was lost in his thoughts until a gentle nudge pulled him back.

Stella. She held out his dinner she helped prepare. He nodded, only to freeze as she dangled the dreaded red packets in his face, the label glistened in the moonlight. Mister Mars spicy sambal sauce.

 Amid the moonlit sea, and the silhouette of the abandoned factory, the memories of the cherubim insignia on sleeve of her favourite jacket came rushing back. He should have known better about how she had suddenly become "extra helpful".

"Why?" She asked, playing innocent as their eyes met. "You know I don’t like spicy food,” said Ichiro, edging back.  “Come on, just stop already!" He recoiled as she inched the sachets closer to his face.

She stepped forward, waving the sachets closer to his face.

"You should try it Ichiro” her smile deepened. It’s getting cold. Who knows? Might warm you up a bit".

Her tone was light, cheerful but there was something else in her eyes.

Ichiro stepped back, raising a warning finger. “Not another move.” as if that was enough to stop her.

"Stella-" he started but she moved in again, undeterred.  Ichiro was taller but he struggled to keep her at bay as she stood on her toes, lifting the sachets closer to his nose.

Stella smirked. " The trick is, once you start, you don’t stop. You have to keep going -"

That was her last chance. Ichiro lunged at her to  neutralise the incoming threat.

 Stella's blue eyes widened in surprise as he grabbed her wrists. "Just cut it out!" he said lowly, scanning for any guilt in her face. She didn’t back down, biting her lip as she struggled to free herself from his grip. Ichiro flapped his hands at her to ward off the evil sambal space ships which needed no permission to land on his dinner.

 Suddenly, a sachet ripped open midair, firebombing a splurge of red-hot mess over his rice, leaving Stella speechless.

 “I’m not touching that,” Ichiro fumed, folding his arms. Stella coughed, lifting her collar, turning red in the face. “Sorry. You can have mine.”

 “Are you two sweethearts done mucking around?” Jase snapped but was instantly met with angry glares.

“With her? Ichiro scoffed. “Are you crazy?”

 Stella fell completely silent. “Does it taste better now?” he leered in her ear, looking down at her rice with disdain. “More like a sorry excuse…”

Pulling her arm away from Ichiro, she shovelled a spoonful of sambal rice into her mouth and glared at Ichiro down. He wondered, Was she upset? Was Jase being stupid?

Stella stood up, zipped her blue jacket, and waved to Jase. “Hiyaaa Jase! Got my Beast?” she called out.

Jase nodded towards the side to where his old jeep was parked, a smirk playing on his lips and Stella's eyes sparkled in excitement. Her treasured ‘Beast-B,’ essentially a Baezhn, was a sleek and elegant machine that seamlessly melded art with technology. Shaped like a comet soaring through the sky, it featured a touch-sensitive screen that generated ethereal melodies by tapping light passing through a rotating blade. The musical device was a relic of human technology salvaged from mech complexes until Zandau Industries brought about its  ‘renaissance’. Stella owns a collection of Baezhns and Ichiro wonders if she was referring to her favourite one adorned with blue and black star stickers which she received from her father on her thirteenth birthday. The joy it brought her had never faded.  Thanks to Jase, her Baezhn – an intricate device painted in swirling blue and vibrant red was heavily modified, unlocking a myriad of new sounds that hummed softly with a warm glow.

 “Lychiiro! You know what?” Stella declared, as she climbed into the jeep. “Ichiro can stay here!” Her laughter ringing in the distance, jolting him from his train of thoughts.

“Oi!! Wait!! On my way!!”

Tying his laces in a hurry, Ichiro grabbed his schoolbag and took off after them.

For a fleeting moment, the weight of the world lifted from his shoulders—replaced by the company of kindred spirits, the night air rushing past, and the promise of the open road ahead.

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