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Ear 912 preamplifier


Ear 912 preamplifier


I laughed at its brevity and near uselessness; evidently, EAR expects buyers to be savvy enough not to want to be lectured to. The drove four different sets of amps, both tubed and solid-state, without a hiccup. The "manual" recommends 60 seconds of warmup for the EAR to reach operating temperature -- a relatively fast start for a tube preamp.

I found it took minutes to reach its fullness of sound and best resolution. It makes operation simple and straightforward for the unfussy, but conceals a range of choice for tweakers.

After playing around with each of the settings, taking notes, and trying to hear differences, I wound up preferring the default ohm setting for MC and its corresponding gain for the transformer. I assume, though, that if you buy an , you get a remote -- presumably a very simple device.

I never really missed it. I did end up wishing for a second set of phono inputs, though. Near the end of the review period I installed a second tonearm on my TW-Acustic turntable, and wished for the convenience of having both arms simultaneously connected, so I could easily switch between the MM and MC inputs -- in my rig, from mono to stereo cartridges -- and thus have it all.

VII tonearm with a Zyx Airy 3 0. I have two 15A dedicated lines, both with Oyaide R1 duplex outlets. My equipment sits on a five-shelf Box Furniture rack made of lightly finished sapele. Except for Harmonic Resolution Systems Nimbus footers and couplers between the pairs of Herron and Electrocompaniet monoblocks when stacked and in use, I use no further isolation other than the stock feet on all components.

My listening room is treated with sound panels from Acoustic Sciences Corporation; bookshelves line the right wall, shelves of LPs the left. The Von Schweikert speakers were toed in about 3", the tweeter axes firing slightly to the outside of my ears when I sat in my standard listening position.

My review sample arrived already well run in, so there was no waiting for its sound to arrive in full. The sonic signature of each of the four amps I used with the EAR -- two tubed, two solid-state -- came through. The Herron M-1 solid-state monoblocks W were wonderfully nuanced, resolving, and more transparent with renaissance choral music. Finally, the EAR stereo amp 70Wpc performed with nearly as much fullness from top to bottom as did the deHavilland monos, yet without quite the same level of authority and punch overall.

Most of my listening, though, was with my splendid deHavilland KE50As; the impressions that follow come from my sessions with them. With each kind of music, the EAR performed wonderfully, adding drive to the system as well as increasing tonal density. Tonal colors were mournful and wistful, and the rapid, triple-tongued 16th notes in one of his runs was followed by an expansive, long-held note that fluttered, ribboned, and shimmered before it was let go.

And the final duet of Davis and Coltrane was suspenseful, harmonically sweetly resolved, and plentiful in overtones. This showed that the system was capable of producing microdynamic detail, tonal range, acuity of timing, and midrange resolution.

In the first movement, Allegro moderato , the piano was clear, clean, richly harmonic, and dense in tone, with authoritative bass notes. There were exquisite pianissimo trills, precise and rapid runs across the keyboard.

That's the key to "burn-in". That's why so many manufacturers always advise some hours of burn-in, to make people happy about their purchase. Sometimes hundreds of hours! It's nonsense! Burn-in is something that happens in our brain. I know this is highly controversial, but please don't respond. I wish everyone happy in their beliefs. Looking into the we see something not up to the high standards of current Chinese manufacturing, rather some British handwork.

Not particularly nice, but effective. The sonic quality of this unit is kind of a smack in the face to hard-wired circuits, silver wires, gold plated teflon tube sockets and all sorts of woodoo-BS. Identify the real problems and solve them. Opponents may argue what it could have been, if The thing is that nobody builds two identical pre-amps, one hard-wired, one circuit board, ets.

I can't help liking the because it is so free of any snake-oil, so common in hifi these days. It's really hard to write something sensible about two systems that are so much alike and yet, throw a slightly different palette of tonal colours to the sound - because the probably both do. We can never tell until we have the next thing that put our minds in doubt.

I very much like what hear from the and I like its versatility. True pro product. I've used the Keith Jarrett Still Live before as one of my favourite recordings. Jack DeJonette's drum playing is out of this world. His use of snare and cymbals can be so subtle, yet with a captivating ability to support the piano, its flow and nyances.

The helps me getting closer to the live experience than anything else has done in my living room. This says it all. You pay an insane amount of money for this tiny remote.

The buttons need some rubber so you can feel them without looking. I'll add some rubber pads. Sounded shut in and with too much midrange.

Not my cup of tea. The comes with a very smooth volume knob or my fingers are usually dry. On eBay I found a knob exactly the same size but with knurled surface. I used it for some time, but left it again. The surface was just too rough and the colour of aluminum not quite right. I know this is nitpicking, but I am very nitpicking when it comes to my tools and gear.

They have to feel right, or I don't like it. I ended up adding a small strip of rough adhesive tape, the kind of thing we can use on slippery stairs. We used six output transformers within the for the creation of its excellent performance. The three pairs take care of line, balanced and phono inputs.

Each a master of their task, built to fulfill a specific function. Giving each input source and its transformer the ability to sing to their precise requirement. With this preamp, be connected more than ever before.

Supplementing the large selection of inputs, you can take advantage of the two line and two balanced outputs. Allowing you to pass ultra high quality audio from the source direct to the rest of your Hi-Fi. Leaving you with the best possible experience.



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  1. EAR A studio-grade preamplifier. Two phono inputs, both with switchable gain and input impedance. Transformer-coupled line stage with both balanced and unbalanced outputs. Two balanced line inputs, plus three unbalanced and a tape loop. Selection via reed relays.
  2. Dec 13,  · Ear Yoshino preamp Hifi PLN 28, Aug 25, Hi-Fi EAR Pro Tube Control Centre *Special Edition* Hi-Fi RUB 1, % Dec 13,
  3. Once again, EAR redefines expectations of amplifier performance with the new studio-grade preamplifier. Building on our existing range of admired preamps including the unique Control Centre (transistor-based), it offers an unusually wide range of features in a tube-based package which will appeal equally to the professional and the discerning audiophile.
  4. Nov 24,  · Thanks everyone for the responses. I happened to finally get an audition of the EAR preamp. Most of you are correct in the sense that they are very different sonically to Audio Note. It was as far as possible between 2 tube components made in the UK by 2 great designers. Where AN is deeply emotional with its tonal palette and musical flow.
  5. May 28,  · The EAR is an integrated EAR line stage (same circuits) with a three-tube phono stage. Its phono stage is very similar to the circuit in the standalone 88pb EAR phono, but without the 4th buffer tube stage. I'm very familiar with all this equipment.
  6. Apr 22,  · I had the original EAR Acute CD but traded it for Audio Note CDT2/II transport and DAC x - far more accomplished combo albeit with a much larger footprint. And indeed also owned an EAR phono preamp for an extended period - since replaced with Allnic HA head amp, HV phono and Audiopax Model 5/v preamp.
  7. EAR Yoshino. The EAR is a culmination of Tim de Paravicini’s work with professional studios. £9, 3 year warranty. Enquire about this product. Available on 0% finance. Finance example. £1, initial 20% deposit then £ per month for 30 months.
  8. The EAR isn’t cheap, but it’s a Class A preamplifier in every sense, and an heirloom-quality instrument that represents the apex of both build quality and design ingenuity. I miss it already—and I strongly recommend that you try to experience it for yourself.” vivaldiaudio.com