Power-On
When first connecting the Bi-200 to power, it undergoes a quick initialization procedure, during which the display shows the Bryston logo and then indicates that the network connection has been verified. The amp appears to be powered on at that point, but it has entered standby mode. After the initialization, the amp is switched on by tapping the standby switch at the far right.
All Bryston amplifiers are equipped with a microprocessor-controlled circuit that gradually ramps up the power to the amplifier, preventing the circuit breaker from being triggered. This is audible as a ramping “purrr”, followed by a mechanical hum from the power transformer that quiets down to near inaudible in about 3 seconds, after which the amplifier is ready to rock.
Listening – Driade Premium Model 9
I decided to start with the affordable but excellent Driade Premium Model 9 monitors that happened to be set up when I first installed the Bryston. Naturally, I will also connect the Magico S1s and try the Apogee speakers. But let’s first see how the Bi-200 treats the Driades and work our way up. As the DAC, I used the CH Precision C1.2 DAC, first connected via Driade Flow Link Reference 808 RCA interlinks.
One might assume that the compact Driade monitors would not require such a big amplifier and that they might not do justice to the amplifier’s massive power. One could also assume the amplifier might be overkill, given that big amplifiers are usually not as pure and delicate as smaller ones, all things being equal. However, I found that the match worked impressively well. Before the Bryston arrived, I was listening to the Driades with the Accuphase E-270 integrated amplifier. Judged by itself, the Accuphase E-270 has a natural and subjectively realistic sound, and I find it timbrally much more convincing than the classic high-end Jeff Rowland models 6 and 10 that I used in the past. Still, as I know from comparisons with my current reference CH Precision amplifiers, the Accuphase is more characterful than strictly neutral. It has a full timbre with a very robust boldness at the cost of refinement, liquidity, and treble air, which can work for it, or against it, depending on the system.
In this first comparison, using the Driade monitors, the Bryston makes matters very clear. This may be counterintuitive to those who are familiar only with the classic Bryston amplifiers, but after the E-270, the Bryston Bi-200 sounds considerably more fluid, open, and refined. Initially, it appears somewhat uninspiring. But before the track ends, you realize there is just an acclimatizing period because the Bryston has no roughness and is not colored, pushy, or blunt at all. Once you are acclimatized to the Bryston’s neutrality, you will find that the amplifier removes itself from the equation and conveys the music in all its purity.
Bryston amplifiers have long been famous for their bass performance. This is partly because the brand used to have exceptionally voluptuous, potent, and robust bass, resulting in their amplifiers being recommended for speakers that needed “a kick in the butt”. However, I should add that this was predominantly the case with earlier generations, particularly with the bigger models. The current 4B ‘Cubed’ (formerly referred to as ‘SST3’) sounds considerably fuller, richer, and more relaxed than those classic amplifiers. The 3B Cubed has the same smoothness, neutrality, and naturalness as the 4B Cubed, with the same resolution and level of refinement, but with an arguably better balance between relaxation and upbeat pacing. To my ears, the 3B Cubed is just a bit purer and snappier. The 3B is what’s built into the Bi-200.
The Bi-200 presents a balanced sound that is not typically encountered, characterized by sounding rich, relaxed, controlled, and neutral all at once. Especially in the bass, the Bi-200 has a bit of smoothness and creaminess compared to the even more neutral-sounding CH A1.5 power amp. However, this should not be mistaken for voluptuousness. On the contrary, the Bi-200’s bass, while not as crisp as that of the A1.5, is much tighter and cleaner than that of the Accuphase. The Accuphase may have an initially appealing, bold character, but the Bryston counters with significantly more authority and control. This is clearly not just the case with more difficult speakers, such as the Magicos or Apogees, which require a bit of power, but also with the very efficient Driade Premium Model 9 monitors.
RCA versus XLR
Before moving on to the larger speakers, I need to address one of this amplifier’s essential aspects, which is that its preamp section is a fully balanced design. Balanced designs often sound best when using balanced cables. This is not a golden rule, however, and one should always try to find out. So far, I’ve been listening to the Bi-200 using RCA cables. Substituting the Driade Flow Link Reference 808 RCA cable for its XLR counterpart, it is immediately clear that this is the preferred connection.
Using the balanced cable, the bass firmed up significantly, becoming tighter and subjectively faster, while the amplifier retained its gently smooth and relaxed nature. Furthermore, the midrange gained purity, and the overall resolution increased substantially. This last effect is not something I usually encounter when comparing RCA to XLR cables. It is not inherent to cable designs in general, and most definitely not with these two Driade cables. In other words, the Bi-200 truly performs better when connected with balanced cables. It’s a no-brainer, so the XLR cables remained for the rest of the review.
Magico S1
Moving on to the Magico S1s, the Bryston remains as confident as it is positively characterless. Those who heard the classic Bryston amplifiers may recall a certain hardness and technical quality to the brand’s sound. However, since the introduction of the SST range, this aspect is 100% gone, and the Bi-200 operates precisely as the 3B Cubed did when I reviewed it. The Bi-200 is not only extremely low in distortion and exceedingly neutral, but it also skillfully avoids becoming lean, devoid of color, or “un-musically” analytical.
As I listen to track after track sourced from Roon’s curated playlists, I find that the amplifier allows the music to be conveyed in a smooth manner, but otherwise, just as it was recorded. Meanwhile, coming from the CH system, any sonic clues I can identify with the Bi-200 are attributes I am familiar with from the Bryston 3B Cubed. I don’t hear any noticeable influences from its built-in preamplifier. And while that may sound like faint praise, coming from the genuinely world-class CH L1 preamplifier, this is a huge compliment. I have compared many preamplifiers and know all too well that obtaining truly transparent and neutral performance is exceptionally challenging.
The real proof of the pudding was obtained in a fresh listening session, without bias and critical A-B comparisons. After a few days, with the Bi-200 still connected, I resumed listening. Sure enough, there’s not much of a handle to grab onto in terms of identifying the amplifier. It’s that I know that still more is possible in certain areas, but apart from a richer, riper, and less crisp bass than I am accustomed to in this system, there are no glaring sonic clues to give away that I am listening to an affordable integrated amplifier, rather than the reference system. Although I am very critical of bass quality and love to hear the highest resolution, I found it easy to enjoy the Bi-200, which discouraged me from dissecting its performance.
When switching back to the CH system, the sound was undoubtedly cleaner, grippier, and more precise, but comparatively also drier than the Bi-200. In other words, the Bi-200 is more fluid. I bet that’s not something expected by those who have only heard classic Bryston designs.
I have listened to the Bi-200 on various platforms, including the HRS EXR, Artesania Organic Line Modular Floor Platform, and Artesania Exoteryc, and have compared its stock hard rubber footers to Ansuz Darkz. As much as I would like to confirm what some believe, that Bryston amplifiers are immune to what they are positioned on, this is just not true.
Naturally, one needs to weigh the benefits against the costs, and spending the required several thousand Euros on equipment support may not be the best expenditure in light of this amplifier’s relatively modest cost.
However, like any other product, the Bi-200 responds to the platform and footers. I found it sounded best with the Exoteryc, featuring carbon fiber arms, either placed on the rack’s native footers or, when using an intermediate layer like I did for this comparison, when coupled via Ansuz Darkz T2 footers. That said, the amplifier still sounds formidable when placed on its own footers, and on a simpler table.
Compared to the very best amplifiers I’ve heard in the cost-no-object price range, the Bryston can understandably not keep up. As alluded to, it is rounder and less refined, and it does not dig as deeply in terms of low-level resolution as the CH A1.5. At three times the cost for a power amp versus an integrated, that is more than fair enough. And in the case of the even more costly Halcro Eclipse, there is an additional level of liquidity and organic flow, in addition to CH-levels of resolution, that I have never heard with another transistor amplifier, which the Bryston obviously cannot match.
However, due to its smoother nature, the Bi-200 is comparatively more liquid than the CH. I like the CH’s control, but I know this is not for everyone. With this in mind, it can be said that the Bi-200 sounds more stereotypically “organic” or “tube-like”, and by extension, it can be argued that it is closer to the Halcro in this respect. I am intentionally using these terms in quotation marks because, all things considered, the CH is much closer to the Halcro in overall performance, and the Bryston is not an actual direct competitor for these esoteric products. Nevertheless, this illustrates how relative these things can be while hopefully shedding new light on the Canadian brand for those who still have doubts about its high-end merits.
When considering an integrated amplifier in this price bracket, the Chord Ultima Integrated also comes to mind. I did not have them side by side, but from memory, I can say that the Chord is warmer, more relaxed, and creamier still, while the Bryston is more neutral and expressive, as well as faster-paced. I honestly cannot say one is strictly better than the other, as this is a matter of taste. However, I will say that I prefer the Bryston.
Next: Apogee Duetta Signature, B60, and Conclusion
