EAR Yoshino
Due
to the current fluctuations in exchange rates and the
impact of the recession on manufacturers, please regard the
prices on this page as ‘guide’ only. If you are interested
in the equipment you must contact me for a current
price.
EAR
834P
When
Tim de Paravicini does a job; he does it properly; whether
it is a custom studio installation, or an affordable phono
pre amplifier like the EAR 834P range. With years of
experience in design and manufacturing, nobody can come
close to his unique point of view and life experiences he
puts into all his designs.
When
first launched, now over five years ago, it was the only
valve phono stage you could buy with facilities for both
good quality Moving Coil (MC) and Moving Magnet (MM)
cartridges. In addition, for a small premium the unit could
be purchased with an in-built volume control, allowing
direct connection to a power-amplifier.
Yoshino
was set up in 1994 with the pure intention of manufacturing
the worlds finest Hi-Fi and studio equipment: In other
words; the designs of Tim de Paravicini.
Yoshino
Ltd. decided to up-rate and widen the range. There are now
three models in the EAR 834P line up:
- The Classic EAR 834P uses the same circuit architecture as its more expensive brothers, and shares in the same high quality sound through MM type cartridges. It is enclosed in a tough, rigid metal case, and is fully ''CE'' type approved.
- EAR's most popular phono amplifier in England. The Signature builds on the classic EAR 834P specification, by adding a superb Moving Coil (MC) input stage, as well as the no extra price option of a high quality volume control.
- Top of the range, the De-luxe comes in a stunning chrome and gold cabinet, and has extra attention and quality control. For the true vinyl enthusiast. With different moving coil input options, this unit will fit the most demanding of audiophile systems.
From Basic through Signature to De-luxe, the performance
remains class leading.
834P - Normal
£1048
834P - Signature
£1172
834P - Deluxe
£1597
88PB
£3514
EAR
834P was one of the very first standalone phono stages and
has become one of our best-selling products. Now the
continuing popularity of vinyl has encouraged us to develop
an upmarket phono preamp, the 88PB.
Drawing
on designer Tim de Paravicini's vast knowledge of audio
electronics, and employing several of the innovations he
incorporated in the class-leading Paravicini 312 Control
Centre, a fully-featured preamp and 324 phono stage (both
solid state), the 88PB is a definitive statement in valve
electronics.
Its specification is a perfect match of essential
flexibility with cost-conscious simplicity. Two inputs
cater for the growing number of vinyl-lovers with more than
one turntable or arm. Both inputs accept moving magnet
cartridge inputs, while one is also switchable for moving
coil types - naturally using de Paravicini's famed input
transformers for lowest noise and highest fidelity. MC
input impedance is adjustable internally.
The inclusion of a volume control allows for direct
connection to a power amp in one-source systems. To avoid
cable-dependent high frequency response, a highly linear
buffer stage follows the volume control, using an output
transformer which provides balanced or single-ended output
at a low impedance which can effortlessly drive long
cables.
Other exclusive design details include a unique high
stability circuit for achieving the RIAA equalisation curve
demanded by discs, and of course the superb all-round sound
quality of all EAR amps is guaranteed.
The 88PB: you never realised your vinyl sounded this good.
868L
£3533
The
EAR 868 has been designed to meet the needs of a wide
variety of users, from the most demanding of audiophiles to
the professional seeking high-quality monitoring equipment
in the studio. It is based on the circuit designs used in
the highly successful EAR 912 studio-grade pre-amp.
Like
the 912, the 868 features two pairs of balanced outputs and
one pair of balanced inputs, all coupled via high-quality
transformers. The low distortion, low noise line stage is
coupled to the outside world via transformers, giving the
option of balanced or unbalanced connection.
As with all EAR products reliability and practicality are
key priorities and to this end all components have been
selected and rated for long and trouble-free service. All 4
valves are PCC88s, a type noted for good performance and
which will be around for servicing in the long-distant
future. And unlike many of EAR's competitors' phono
pre-amps there is no separate power supply box to deal with
- careful design ensures that hum is kept at bay despite
the inclusion of a high capacity power supply.
• Inputs - 1 x phono 5 x line level unbalanced (RCA phono)
• Tape Out - 1 x tape monitor
• Output - 2 sets Balanced XLR 2 sets Unbalanced RCA Phono
834L
£1048
The
EAR 834L line preamplifier is designed to complement any of
the EAR 834P phono preamplifiers and an EAR power amplifier
or, indeed, any other high quality source or power
amplifier.
It
has facilities for up to five line inputs, and offers a
genuine tape monitoring circuit, making a total of six
inputs. A high quality volume control is fitted, as well as
a panel mounted power switch. Input and output terminals
are gold plated.
Designed by Tim de Paravicini in his usual robust style,
the EAR 834L is the perfect match for any high end system,
whether biased towards analogue or digital. The electronic
architecture is minimalist, so that the absolute minimum
sonic degradation takes place. There are three double
triode valves, arranged in a classic 'de Paravicini
circuit'. Special attention has been given to the input
circuitry. All inputs are at the rear of the chassis, on
the same circuit board as the selector switches, which are
operated remotely by long control shafts.
The power supply is a unique arrangement; a high quality
toridal transformer feeds a double DC power supply, that
provides the low-tension (LT) heater current, and the
high-tension (HT) anode voltage. It is critical in a
preamplifier that both the HT and LT supplies are pure DC,
and free from AC ripple. This is the case with all EAR
products, not just this preamplifier.
The circuit is designed used in such a way as to have a
minimum life of five years* continuous operation for the
valves.
The preamplifier has more than enough output for any power
amplifier, transistor or valve, and is ideal for driving
long interconnect cables to remotely located power
amplifiers.
The unit is available in Classic and Deluxe specification.
Deluxe builds on the Classic's specification with a
superior chrome and gold finish, with extra outputs to
facilitate bi-amping systems, and a neon power monitor
light.
864
£2946
The
EAR 864 preamplifier is designed to meet a wide variety of
needs, from the most demanding of audiophiles to the
professional seeking high quality monitoring equipment in
the studio field. It is based on the circuit designs used
in the highly successful EAR 834P phono stage and 834L line
preamp, with a few additional refinements and features
including balanced outputs and one balanced input, all
coupled via high quality transformers. It has facilities
for one phono input (MM/MC) and five line inputs, and
offers a genuine tape monitoring circuit, making a total of
seven inputs. A high quality volume control is fitted, as
well as a panel mounted power switch. Input and output
terminals are gold plated.
The EAR 864 is the perfect match for any high end system,
whether biased towards analogue or digital. The electronic
architecture is minimalist, so that the absolute minimum
sonic degradation takes place. There are five double triode
valves, arranged in a classic 'de Paravicini circuit'.
Special attention has been made to the input circuitry. All
inputs are at the rear of the chassis, on the same circuit
board as the selector switches, which are operated remotely
by long control shafts.
Power supply is a unique arrangement; a high quality
toridal transformer feeds a double DC power supply, that
provides the low-tension (LT) heater current, and the
high-tension (HT) anode voltage. It is critical in a
preamplifier that both the HT and LT supplies are pure DC,
and free from AC ripple. This is the case with all EAR
products, not just this preamplifier.
The circuit is designed in such a way to have a minimum
life of five years continuous operation for the valves
(barring random valve failure). The pre amplifier has more
than enough output for any power amplifier, transistor or
valve, and is ideal for driving long interconnect cables to
remotely located power amplifiers.
834
£3905
- Parallel Push-Pull pure Class A circuit stereo valve power amplifier with control unit built in.
- 6 line inputs. 50 watts per channel output into 4, 8 or 16 ohm.
- Happy into any load. Push-pull from input to output.
- Low overall feedback. Winner of the Absolute Sound (USA) Golden EAR Award 1999.
- Valves List - 2 x ECC83, 2 x ECC85, 8 x EL34
- Power output - 50 watts/channel (30Hz - 15kHz at 1% THD int
V-20
£6107
The
V20 is a completely new concept in valve amplifier design.
Forget all other more conventional designs, the V20 is a
totally ''clean sheet of paper'' design. The output valves
are the indirectly heated ECC83 twin triode type, 10 per
channel, operated in a parallel push pull class ''A''
circuit featuring Enhanced Triode Mode, as used in both the
EAR 859 Single-Ended Triode Amplifier, and the EAR 861
push-pull triode amplifier. This circuit provides superb
linearity and very low distortion. In addition, the V20
uses Tim's highly developed Balanced Bridge Mode
ultra-wide-bandwidth output transformer, and no overall
feedback.
The key design parameters were to extend frequency response
at both ends of the spectrum, improve low level detail, and
provide optimum loudspeaker coupling. All of these points
have been successfully achieved in the V20, with superb
reliability from the low priced triode output valves. (All
valves in the V20 are true triode valves.) The
circuit is not the only new thing with this amplifier, the
case work is new and unique. Tim de Paravicini wanted a
more natural, harmonious look to his new amplifier,
something less aggressive than traditional designs with
exposed industrial looking iron transformer cores, hard
angles, and valves stuck up in the air. The fascia is
rounded, in a kind of half moon shape, with left &
right channel valves positioned on opposing sides of the
amplifier. Finish is exemplary, with wood-capped valve
covers, heavy chrome-on-brass fascia, and gold plated
control knobs.
The name V20 was inspired by Tim's passion for the motor
car, and in particular, the famous V12 Jaguar engine. The
original prototype had twelve output valves, and we at
Yoshino could not resist calling it a V12 amplifier engine!
Tim decided to uprate the project when the true potential
of this new circuit became apparent, and it crystallised as
the present V20 specification, with no less than twenty
output valves. Comparisons to the best motor car engine in
the world are very valid, for this amplifier is so very
smooth & sophisticated. There is very little to give
this amplifier away as a valve amplifier: openness, speed
& authority are three good words to describe it. The
amplifier offers 20 watts per channel, has 5 line inputs,
and can be connected to any loudspeaker load from 4 to 16
ohms. It is perfectly stable into any load, and will offer
years of reliable service.
8L6
£4189
The
EAR 8L6 has been designed to meet a wide variety of needs,
from the most demanding of audiophiles to the professional
seeking high quality monitoring equipment in the studio
field. The circuit design uses push-pull output and driver
stages, a high quality in-house-designed output transformer
and low negative feedback. Tube life is long (and
replacement costs modest) and the circuit operates in pure
Class A.
An
unusual feature of the 8L6 is that it can be used as an
integrated amplifier or as separate preamplifier and power
amplifier. This is selected using the switch at the rear of
the unit marked 'Pre/power split on'. In integrated
amplifier mode the front panel source selector works in the
usual way to select any of the five inputs available on the
rear. No connection is required between the 'Pre out'
sockets and the 'Power amp in' sockets.
In pre-main mode the (passive) preamplifier section is
disconnected internally from the power amplifier section,
requiring an external connection between the 'Pre out'
sockets and the 'Power amp in' sockets. This facility is
provided to allow the user the option of connecting a
signal processor such as an equaliser between the pre and
power sections.
An additional benefit is that the 'Pre out' sockets remain
active when the 8L6 is in integrated mode, so that a second
8L6 (or other amplifier of similar gain) can be used
'slaved' to the main one for bi-amping.
869
£4189
When
it was launched in the early 1990s, originally as a kit
offered through Hi-Fi News magazine and subsequently as a
regular EAR product, the EAR 859 integrated amplifier
caused quite a stir. Why? Because it was designed by Tim de
Paravicini, the man who almost single-handedly started the
so-called valve renaissance in England. After over a
decade's successful production of resolutely push-pull
amplifiers (principally the noted 509, 519 and 549 models),
the 859 was Tim's reaction to the developing trend towards
low-power single-ended triode amps, his statement that:
''Yes, of course I can do that, and I do something a bit
different at the same time.''
Accordingly
he completely bypassed the 'conventional' circuits, most of
which use classic valves such as the 300B, 211 or 2A3, and
based his design on his long-standing favourite output
valve, the EL519. As conventionally connected that valve is
a pentode, but Tim's contribution was to invent a new
connection which operated it as a triode, a connection he
dubbed Enhanced Triode Mode, or ETM for short (the name
highlighting the analogy with Enhancement Mode MOSFETs).
Normal triode-connected pentodes have the screen grid
connected to the anode, but Tim turned things upside down
and connected the control grid to the cathode, using the
screen grid as the input. This turned out to give better
linearity, higher power rating and much better reliability
than alternatives, and the 859 went on to become a classic
amplifier, winning plaudits throughout the world. Its
sound, a blend of the classic valve virtues of clarity and
openness with modern low noise and freedom from 'mush',
clearly set it apart from the competition and it has had a
longer production run than almost any other such model.
However, there's nothing that can't be improved - and if
anyone could improve the 859 it would of course have to be
its original designer. Hence the 869: the basic output
topology of the 859 with a slightly revised output
transformer, plus a modified input stage with one extra
small-signal valve. This has allowed a small but
significant increase in output power to 15W per channel,
and even better control of operating conditions
irrespective of valve parameters (meaning better
consistency as valves age or are replaced). In sound
quality terms, this means, in essence, the same but better
and more of it, for longer.
In addition, in response to customer requests, the input
options have been extended so that the amplifier can be
used as a power amp, bypassing the selector switch.
899
£5307
If
ever an amplifier was all things to all men, the EAR 899
must be it. It takes as a starting point the recent EAR 890
power amplifier and builds on it with even greater
flexibility of use.
The
EAR 890 is itself a derivative of the famous EAR 834
integrated amp, offering a much increased output of 70W
from the same chassis thanks to new output valves and
detail circuit changes. The EAR 899 uses the same power
amplifier topology as the EAR 890 but adds a six-input
passive preamplifier in its own 'loft apartment'. It is
still possible to use the EAR 899 as a power amplifier,
however, complete with true balanced inputs and the option
of bridged or parallel mono operation to deliver 140W of
Class A, making this one of the most easily upgraded
amplifiers available.
Circuitry uses two pairs of KT90 valves per channel, giving
bullet proof reliability, and construction is to the
highest standards with a new departure for this range in
the 19-inch rack-mounting front panel in thick and rigid
anodised aluminium.
With this new amplifier, Tim de Paravicini has brought the
sonic virtues of the EAR 834 to a more power-hungry
audience, who can now enjoy classic EAR clarity, control
and frequency extension with the added bonus of a long
upgrade path ahead.
534
£4083
The
EAR534 has been designed to meet a wide variety of needs,
from the most demanding of audiophiles to the professional
seeking high quality monitoring equipment in the studio
field. The circuit design uses push-pull output and driver
stages, a high quality in-house designed output transformer
and low negative feedback. It is capable of operating in
bridged-mono mode, to make a true mono block amplifier.
Tube life is long (and replacement costs are modest) and
the circuit operates in pure Class A.
861
£6017
After years of research, development and day-to-day
manufacture with the EL519 series of pentode tubes, Tim de
Paravicini has come up with a new and exciting Triode
configuration. Conventional triode connected pentodes have
the second grid tied to the anode, which results in a
halfway compromise between a pentode and a triode. This
neither has the efficiency of the pentode, nor the
linearity of the triode. Tim de Paravicini's Enhanced
Triode Mode (ETM) goes one step further, and creates a
true, highly linear triode from a robust pentode tube.
Instead of driving the normal Grid One with signal, this is
tied down to the cathode, and thus becomes an invisible,
transparent element, and part of the cathode. Signal is fed
into the tube's Grid Two, and in this configuration, Grid
Three has no effect - it can either be connected to earth,
or left floating. The ETM behaves like a true triode and is
in fact more linear than the majority of directly heated
triodes. Compared with the latter, it has the additional
advantage of being a tough, more robust tube, capable of
much longer operational life.
The first amplifier to use the ETM configuration was the
'859, and with some justification the '861 could be
regarded as a push-pull version of the '859. However, this
is more than a slight understatement: each output
transformer has a massive 5 kilogram weight, with no
feedback applied around it. The circuit is balanced
push-pull from input to output, allowing balanced
(professional-style) inputs as well as conventional
unbalanced (RCA phono jack socket). Similar to the '859,
the circuit is direct-coupled. Tube choice is not critical;
perfect operation does not rely on matched tubes, nor on
user adjustable bias.
Output power is 32 watts per channel, 20 Hz - 20,000 Hz.
The half power bandwidth is in excess of 16 Hz - 60,000 Hz,
both with low total distortion, and no overall feedback.
Tube complement: 2 x ECC83, 6 x PCC88 and 4 x EL519.
Amplifier weight: 27 kilograms.
Subjectively the amplifier has the same 'family' sound as
the EAR 859. Listeners will find it builds heavily upon
this, with an increase in authority and attack. The lower
bass has real grip and feel with this amplifier, way in
excess of the 32 watt power rating while the treble is
smoother, cleaner and sweeter, mainly due to the lack of
overall feedback. A single word can sum up the 861:
''effortless.'' It has real power and control, the power to
convey the emotion of the most demanding of recordings,
whether the source be our preferred analogue or digital.
890
£5112
The 800 series of amplifiers from EAR has received
widespread and consistent acclaim from users and reviewers
the world over. However, feedback from some quarters
suggested that there was a need for an amplifier with
similar sonic prowess but just a little more power.
Taking
as a starting point the circuits used in the 834 integrated
amplifier, Tim de Paravicini has addressed that need by
producing the 890 power amplifier. Using the innovative
KT90 valve from EI, he has been able to offer 70W of clean
Class-A audio from the same chassis as the 834. One of the
few new valve designs of the last 30 years, the KT90 draws
on the strengths of the EL509 valve (as used in many EAR
amplifiers) and is capable of sustained high power
operation with great reliability. Two pairs per channel are
hardly stressed in the EAR 890.
Features include balanced inputs (transformer-coupled) as
well as unbalanced, separate level controls for each
channel, and the option of flexible mono-block operation to
deliver 140W into a wide range of loudspeaker loads. Build
quality and finish are to EAR's usual high standards, with
a distinctive touch of luxury in the thick brass front
panel, heavily chromed and polished to a mirror finish.
Reliability is assured and there are no user adjustments.
And the sound? All the EAR trademarks are there:
beautifully natural midrange and treble, superb stereo
imaging, and of course extended but perfectly proportioned
bass, with the extra power raising the roof even further
than our earlier models.
509
Monoblocks
£4562
- Built to professional standards.
- Advanced Industrial grade high capacity valves not used in any domestic amplifier.
- EAR amplifiers proven in studio use.
- Accurate simple self-biasing for user replacement of valves when appropriate.
- In professional applications ''XLR'' input connectors and balanced semi-floating inputs are supplied at a nominal additional cost.
- Stability - No feedback is used on the transformer secondary
- The amplifiers are entirely stable into any load.
- Matched mono amplifiers are supplied in pairs for stereo.
