Thanks James for those insights.
The proof of the pudding......
Is in the measurements, and the experience in the listening chair. And I've always liked what I heard when I've heard a cubed. Perfect top to bottom but I think the excellence is at the top, because the treble is the hardest bit to get exactly right and the cubed series doesn't seem to add or subtract anything. Very pristine, grain-free and very natural attack and decay of percussion and cymbals.
I'm guessing that the topology employs some voltage or current (negative) feedback with distortion so low, but there's usually a trade-off for unconditional stability at the expense of distortion above 10kHz. The cubed series manages to defy the norms somehow. Maybe a few tricks in the way the transimpedance stage is compensated, but distortion so low requires meticulous attention to layout as well as design, RF immunity, and maintaining optimum bias in the output stage to avoid crossover related distortions etc. The Bryston design team obviously has all aspects covered.
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