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PHONO PRE AMP VACUUM TUBE
$1,350
This is a Hand build tube pre amplifier base on EAR 834
EAR 834P phono preamplifier
A simple, down-to-EARth design
The 834P's diminutive box epitomizes designer Tim de Paravacini's "simple is better" design: three ECC83 tubes, a toroidal transformer, and a tiny circuit board are all ya get. The front panel sports an on-off switch and a volume knob. (In a phono-only system, a separate preamp is therefore unnecessary.) The user can toggle between a standard 47k ohm moving-magnet input and a moving-coil input that uses internal step-up transformers, one for each channel.
Sound? let's hEAR that rear wall!
The performance of the EAR 834P phono stage combined the strengths, weaknesses, and colorations of classic high-end tube gear. As one would expect, the EAR thus excelled at re-creating the inner detail of good recordings, and was adept at extracting the delicacy, the subtle nuances of well-recorded unamplified instruments. Along with inner detail came agile reproduction of transients, but without a trace of hardness.
The EAR's greatest strength was its ability to reproduce perfectly placed holographic images with body and life on a wide, deep soundstage. This may be the phono stage for lovers of well-recorded classical works. On Cantate Domino (Proprius 7762) the layered vocals and French horns against the rear of the soundstage were arresting. And the EAR lit up the rear wall and provided a detailed perspective of the recording space unlike any phono stage I've heard. If hall sound and ambience are important to you, you must audition this phono stage.
The 834P's tonal balance was replete with a number of classic "tubey" colorations that many of today's valve designers have been able to abandon. The amplifier's overall dark perspective reflected very laid-back extreme high frequencies and an overly round midbass. There was a slightly euphonic liquid presentation throughout the midrange and upper highs as well.
Whether the EAR's mixed bag of characteristics interests you will depend on your own listening biases, musical tastes, and the recordings themselves. On the Classic Records reissue of Richard Strauss's Till Eulenspiegel (RCA/Classic LSP-2077), the EAR presented the sweetest string tones from the string bass through the violins. The detail and ambience surrounding midrange instruments were rather seductive, although the overall perspective of the orchestra was dark. Similarly, the silky strings on the reissue of Paul Desmond's Desmond Blue (RCA/Classic LSP-2438) seemed to have an extra dash of maple syrup.
No dEARth of bass or dynamics here
Whether the midbass thickness was bothersome to me seemed to vary dramatically from recording to recording. The EAR presented a fat muddiness to the string basses, which seemed to lag behind the higher strings in the third movement of Pierre Monteux's rendition of Tchaikovsky's Symphony 4 (RCA/Classic LSP-2369). This thickness seemed to be isolated in a very narrow frequency range, however.
On analog rock extravaganzas in which the bombastic bass information is lower in frequency—such as Jeff Beck's Guitar Shop (Epic EK 44313), Human League's
Whats in
* Custome made Toroidal transformer from Noratel
* All the resistors are specially selected Kiwame,Allen bradley,PRP Made USA ,Japan
* Capacitors Vishay,Wima,Rubicon, Made in Japan,Netherland,
* All soldering done with WBT silver soldering made in Germany
* RCA connectors CMC (WBT upgrade available)
* Enclosure Modushop made in Italy
* Tubes Genalex gold lion
* Alps Volume controller
Construction
Seperate Power supply for minimum noise
RF shielded encloser for external EMI noise
Medical grade Noratel EMF filter
This price is only for MM version
MC mode use USA made step up transformers
240V operation
Build for orders
Demo available for test
2 Years warranty
Shipping Australia wide 50AUD
Payment paypal direct debit credit card
EAR 834P phono preamplifier
A simple, down-to-EARth design
The 834P's diminutive box epitomizes designer Tim de Paravacini's "simple is better" design: three ECC83 tubes, a toroidal transformer, and a tiny circuit board are all ya get. The front panel sports an on-off switch and a volume knob. (In a phono-only system, a separate preamp is therefore unnecessary.) The user can toggle between a standard 47k ohm moving-magnet input and a moving-coil input that uses internal step-up transformers, one for each channel.
Sound? let's hEAR that rear wall!
The performance of the EAR 834P phono stage combined the strengths, weaknesses, and colorations of classic high-end tube gear. As one would expect, the EAR thus excelled at re-creating the inner detail of good recordings, and was adept at extracting the delicacy, the subtle nuances of well-recorded unamplified instruments. Along with inner detail came agile reproduction of transients, but without a trace of hardness.
The EAR's greatest strength was its ability to reproduce perfectly placed holographic images with body and life on a wide, deep soundstage. This may be the phono stage for lovers of well-recorded classical works. On Cantate Domino (Proprius 7762) the layered vocals and French horns against the rear of the soundstage were arresting. And the EAR lit up the rear wall and provided a detailed perspective of the recording space unlike any phono stage I've heard. If hall sound and ambience are important to you, you must audition this phono stage.
The 834P's tonal balance was replete with a number of classic "tubey" colorations that many of today's valve designers have been able to abandon. The amplifier's overall dark perspective reflected very laid-back extreme high frequencies and an overly round midbass. There was a slightly euphonic liquid presentation throughout the midrange and upper highs as well.
Whether the EAR's mixed bag of characteristics interests you will depend on your own listening biases, musical tastes, and the recordings themselves. On the Classic Records reissue of Richard Strauss's Till Eulenspiegel (RCA/Classic LSP-2077), the EAR presented the sweetest string tones from the string bass through the violins. The detail and ambience surrounding midrange instruments were rather seductive, although the overall perspective of the orchestra was dark. Similarly, the silky strings on the reissue of Paul Desmond's Desmond Blue (RCA/Classic LSP-2438) seemed to have an extra dash of maple syrup.
No dEARth of bass or dynamics here
Whether the midbass thickness was bothersome to me seemed to vary dramatically from recording to recording. The EAR presented a fat muddiness to the string basses, which seemed to lag behind the higher strings in the third movement of Pierre Monteux's rendition of Tchaikovsky's Symphony 4 (RCA/Classic LSP-2369). This thickness seemed to be isolated in a very narrow frequency range, however.
On analog rock extravaganzas in which the bombastic bass information is lower in frequency—such as Jeff Beck's Guitar Shop (Epic EK 44313), Human League's
Whats in
* Custome made Toroidal transformer from Noratel
* All the resistors are specially selected Kiwame,Allen bradley,PRP Made USA ,Japan
* Capacitors Vishay,Wima,Rubicon, Made in Japan,Netherland,
* All soldering done with WBT silver soldering made in Germany
* RCA connectors CMC (WBT upgrade available)
* Enclosure Modushop made in Italy
* Tubes Genalex gold lion
* Alps Volume controller
Construction
Seperate Power supply for minimum noise
RF shielded encloser for external EMI noise
Medical grade Noratel EMF filter
This price is only for MM version
MC mode use USA made step up transformers
240V operation
Build for orders
Demo available for test
2 Years warranty
Shipping Australia wide 50AUD
Payment paypal direct debit credit card
- Date Listed:12/02/2018
- Last Edited:24/04/2023
- Condition:New
- Shipping:Pickup Only
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