"Desidero spiegare ai nostri clienti che noi facciamo tutto rigorosamente a mano
con una cura pari alla costruzione di un violino o di un violoncello. Gli EAR
912 come il CD e il nuovo 868 sono costruiti da me personalmente mentre i
trasformatori sono fatti dai miei collaboratori sotto le mie precise ed accurate
istruzioni. La costruzione di un EAR 912 necessita approssimativamente di un
tempo 5 volte superiore a quello necessario per la costruzione di un EAR 864. Mi
auguro quindi che i clienti capiscano che valga la pena aspettare per poi poter
usufruire di vera musica"
Grazie e buon ascolto Tim De Paravicini.Tim de Paravicini è uno dei più grandi progettisti ed ingegneri del suono del
mondo, insomma una vera e propria leggenda del settore. Per chi non dovesse
conoscerlo, farò una piccola cronologia della sua eccellente carriera. Dal 1965
Tim è coinvolto nel design e nella progettazione personalizzata di
apparecchiature per complessi di rock & roll di artisti del calibro di George
Harrison, Ry Cooder e Pink Floyd!!! che lo portarono ad essere scelto come
collaboratore nelle registrazioni . Ciò che rese famoso Tim de Paravicini, e che
lo portò ad entrare nell'olimpo dei progettisti di hi fi, fu la sua dedizione
alla sperimentazione con risultati precisi e dimostrabili, e qui i vecchi
appassionati di hi fi dovrebbero ricordare, con la realizzazione del XXAE XXB:
due amplificatori, circuitalmente identici, dei quali il primo facente uso di
triodi , quindi con progettazione valvolare, il secondo facente uso di
transistors bipolari, quindi con progettazione stato solido. Con questi due
oggetti, de Paravicini volle dimostrare la sua capacità nell’ utilizzare
entrambe le tecnologie e volle anche dimostrare che i due oggetti portavano ad
identici risultati sonici!!! Questo creò molto scalpore e scompiglio nel mondo
dell'hi fi!!! Un impulso ulteriore al suo genio inventivo l'ha ricevuto quando
si è spostato in Sud Africa dall'Inghilterra dove ha prodotto il primo
amplificatore professionale venduto con il nome "de Paravicini". E' in occasione
dell'incontro con la Luxman Corporation che, nel 1972, viene invitato ad Osaka,
in Giappone, dove gli fu offerto di lavorare come designer audio. Da questa
nuova sinergia venne alla luce il famoso preamplificatore e amplificatore di
potenza C 1000/M6000. Nel 1976 Tim rientra in Inghilterra e lavora inizialmente
con ALBARadio Corporation e la Tangent Loudspeakers e collabora con la famosa
ditta inglese Michaelson & Austin. Nell'arco di un anno fonda l' Esoteric Audio
Research Ltd e commercializza l'EAR 509: 100 Watt di amplificatori monofonici a
valvole. Sviluppa un circuito di interfaccia a valvole chiamato "Balanced Bridge
Mode", una modalità bilanciata a ponte dove gli elettrodi hanno trasformatori in
uscita in tredici sezioni a doppio avvolgimento. Inoltre, caratteristica degli
amplificatori Paravicini è di essere privi di feedback complessivo. Tecnicamente
questo amplificatore ha dato prova in laboratorio di rendere come un transistor
con un' ampiezza di banda passante di 9-85.000 Hz a -3db. Negli ultimi 30_anni,
dal 1976 ad oggi, Tim ha realizzato un ampio catalogo di convertitori sia
analogici che digitali (per la masterizzazione di CD) oltre a componenti
personalizzati dedicati alla registrazione per artisti famosi. Basandosi sul
classico circuito EAR509, nel 1985 ha introdotto un nuovo sistema che ottiene
una maggiore dinamica con un segnale/rumore di 65db che avvicina la qualità
sonora a quella dei nastri master. Solo per citarne alcuni ,ha prodotto
l'entusiasmante Al, la cui unica concessione è quella di lavorare a 10 Watt in
uscita in pura classe A, l'A 470/370, il p270, il CD T, etc. Attualmente, in
Europa, vediamo rinascere l'interesse per l'amplificazione a valvole e molte
ditte emergenti senza una solida conoscenza nel campo della progettazione e
realizzazione hanno cercato di imitare i prodotti di Tim senza le necessarie
competenze: il risultato è un suono povero, privo di ampiezza e con problemi
evidenti di distorsione nelle seconde armoniche. L'attenta progettazione
proiettata verso innovazioni migliorative non lascia dubbi: ad un ascolto
attento i prodotti EAR non temono confronti. In breve tempo la EAR è riuscita a
farsi un nome tra gli appassionati di valvole, creando quella sorta di mistero e
leggenda che si cela dietro il suo progettista.
There
are very few modern designers in the audio field who can claim as much as de
Paravicini. No aspect of the recording and reproduction chain has been left
untouched, no aspect of circuit design not further researched and developed. As
early as 1965 Tim was involved in custom design work for rock and roll bands;
manufacturing his own public address equipment, and modifying existing studio
equipment to realise even greater potential. A move to South Africa from England
saw a further development of his own unique design genius, and the launch of his
own professional amplifier product, sold simply as “de Paravicini”. While
working in South Africa, Tim had a chance meeting with representatives of the
Lux Corporation, and in 1972 was invited back to Osaka, Japan, and offered a job
as audio designer. Tim soon put together some very interesting designs for Lux,
including the remarkable C1000/M6000 pre/power amplifier combination. One of his
own favourite designs from this period was the Luxman 3045 tube mono block. At
the time, this was the only mono block design available in the audio field, and
backed up de Paravicini’s preference for locating the power amplifiers close to
the loudspeakers. Tim also designed the actual output tube for this amplifier,
the 8045 power tube. As always with his designs, the output transformer was a
custom de Paravicini design. In 1976 de Paravicini returned to England, and very
quickly made an impact as a design consultant, initially working with the ALBA
Radio Corporation, and Tangent Loudspeakers. Tim was also responsible for the
later ranges of Michealson and Austin tube amplifiers, including the TVA10 and
M200 mono blocks. Within a year, he had set up Esoteric Audio Research Ltd., and
was marketing the remarkable EAR 509 100 watt professional tube mono block power
amplifiers. He developed a unique output transformer/tube interface circuit
called “balanced bridge mode”, in which all the electrodes (except the control
grids) have their own separate windings on the thirteen-section, biflar wound,
output transformer. In addition, the amplifier has no overall feedback,
something of a de Paravicini trade mark. Technically this amplifier proved that
tubes are capable of performing equally as well as transistors in a laboratory,
with a specification that included a power bandwidth of 9-85,000 Hz, -3dB, and
also proved that tubes are capable of better things than the “retro” sound some
manufacturers look for. Subjectively the 509 amplifiers were a big hit. Although
aimed at the professional market, several Hi-Fi magazines picked up on the
509’ss, and compared them to the then State of the Art domestic High End
equipment. The fact the 509 beat all of the competition at the time helps
explain why the 509 is still in production today. the 509 was designed by de
Paravicini to have no sound; trying to sum up the 509 is hard, it does not offer
the warm ‘comfortable’ tonal quality which so often mark most tube amplifiers
out. They are remarkably clear, transparent, with firm realistic bass,
effortless top end, detailed and very alive. In the twenty years since 1976, Tim
has designed a mammoth catalogue of Hi-Fi and Studio components, both for
Esoteric Audio Research and for other domestic audio companies. Currently the
‘E.A.R.@ professional product range includes a tube capacitor microphone, built
with a rectangular gold spluttered capsule. A design which easily betters the
classic European designs. Tube microphone preamplifiers, tube equalisers, record
cutting systems, analogue to digital converters (for CD mastering) plus custom
components and servicing for some of the Worlds most famous recording artists.
His is most famous in the studio industry for the stunning analogue tube master
tape recorders. These units have very special custom designed heads, and are
capable of digital levels of signal to noise ratio, with a bandwidth in excess
of 8Hz to 80,000Hz! Work for the recording industry has brought critical acclaim.
On the ‘Waterlily’ label, “A Meeting by the River” received a prestigious
‘Grammy’ award for its sound quality. This was a mid/side technique recording
using a pair of crossed microphones. Waterlily’s microphones, preamplifiers,
analogue master recorder and A/D converter were all built and designed by Tim.
In 1985, de Paravicini introduced his new record cutting system. Now installed
at ‘The Exchange’ in the heart of London, (originally Island Records ‘Sound
Clinic’ facility). This is phase corrected, and uses in excess of 1,000 watts of
tube audio power, based on the classic EAR 509 circuit. The cutter head is again,
a custom design, and is capable of cutting deeper, wider grooves than any other
system. The result is higher dynamics, with a true signal to noise ratio in
excess of 65 dB from records pressed off a master cut on this system. It is
truly as close to the original master tape as it is physically possible to get.
Throughout the past twenty years, Tim has worked with many different
manufacturers. For London based Musical Fidelity, Tim designed the amazing A1,
taking the concept of a cut down ‘High End’ audiophile amplifier, the only
compromise being the 10 watts output, albeit pure class ‘A’. Other products
designed for ‘M.F.’ include the A470/370, P270, Digilog, CD-T, etc. More
recently in Europe, the ‘Tube Scene’ in domestic audio has really taken off. A
lot of European manufacturers have stolen both older European designs, and
designs from Japanese magazines and journals. Most of these amplifiers are very
poor sounding, and terribly unreliable. These manufacturers neither understand
the designs or how to build them. They use the reputation of tubes to sell their
poor, none original product. De Paravicini’s answer to these companies, was the
award winning EAR 859 amplifier. His all new Enhanced Triode Mode circuit
bettering the performance of directly heated triodes designs. It provided the
public with a real design, from a professional maker. The EAR 834P phono stage
was also introduced, and similar to the ‘859 has proved very popular, offering
un-rivalled performance per dollar. The particular speciality being the stunning
Moving Coil stage transformers - transformer design being one of Tim de
Paravicini’s fortes - unlike most manufacturers, who just buy in ‘off-the-peg’
transformer designs or just specify the most basic requirement to an outside
supplier. All EAR amplifiers are truly original, including the custom
transformer, metal work, circuit printed cicuit board. All the work of Tim de
Paravicini. Tim de Paravicini works by a simple premises: If he designs it, it
must be a better design than anything else, or he will not manufacture it. His
sole goal is taking audio to the furthest possible point of development. Current
research is taking him further along this path than any single competitor.
EAR 834 Amplificatore integrato con uscita pre per
bi-aplificazione 40 W valvole: 2 X ECC83, 2 X ECC85, EL34
Yoshino�s
latest model, the 834T is the company�s first solid-state Hybrid Integrated
amplifier. It draws both on the original all-valve 834 and the spectacular M100
transistor mono-block power amps, and in true EAR style breaks definitively with
convention. Backed by designer Tim de Paravicini�s unrivalled expertise in audio
transformers, the 834T offers 100W of transformer-coupled MOSFET power per
channel. A valve-like output configuration gives the noted virtues of valve
sound together with bullet-proof stability and reliability not always associated
with MOSFETs. Input stages use both valves and transistors, drawing on the
unique strengths of each to make this one of the most sophisticated-sounding
amps in its class and fully realising the traditional EAR/Yoshino virtues of
transparency, complete assurance and, quite simply, accuracy. 6 line-level
inputs and tape output complete the specification, with the utter simplicity of
two controls making a welcome contrast to the trend for over-complicated user
interfaces. What more could you want?
EAR 834T Amplificatore
integrato a valvole 100 W ibrido: preamplificatore a valvole e finale a mosfet
con trasformatori d’uscita
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. Specification Valves
List - 2 x ECC83, 2 x ECC85, 8 x EL34 Power output - 50 watts/channel (30Hz -
15kHz at 1% THD int Power Consumption - 200 watts total I.M.D. - Less than 1% at
any level from 10mW to 50 Wa Output Damping Factor - 12 Power Bandwidth - 15Hz -
40kHz at less than 3% THD Input Sensitivity - 200mV Signal to Noise Ratio - 85dB
Size - W 16'' (405mm), D 16'' (405mm), H 6'' (150mm) Weight - 20kg Input
Impedance - 47k Ohms
EAR 8L6 Amplificatore
Integrato a valvole con uscita pre per bi-aplificazione 50 W 2 X ECC83, 2 X
ECC85, 8 X 8L6
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.
EAR 869 Amplificatore
integrato/Finale 15 W a valvole in pura classe “A” a triodo: 2X EL509/519, 3 X
PCC88
Tim
de Paravicini has been credited by many with starting the valve renaissance in
England. Tim, who has worked around all corners of the globe, has unique ideas
and designs, are a ''clean sheet'' break from the designs of old. Too many of
his competitors use old, tired designs to flavour the sound, and do not seek to
advance the state of the art. The EAR 859 was designed to be ''the best''
Single-Ended Triode amplifier on the market. Tim as always, was keen to cut a
new path through the forest and ignored the week and vulnerable, inferior and
obsolete direct heated triodes (such as the 300B). He based his design on his
favorite valve, the 6KG6/EL519, developing a new operating mode called Enhanced
Triode Mode, or ETM for short. This revolutionary new circuit cleverly tied the
control grid (G1) to the cathode, removing the potential difference between the
two, and fed the control signal into the screen grid (G2). This gave better,
more linear results than directly heated triodes, with the added advantages of
high anode power rating, good valve availability and maximum reliability.
This was put together in a DC-connected, low feedback pure Class ''A'' circuit,
that automatically compensates for valve spread, maintaining excellent, reliable,
sound quality for an extended period of time. The proof of the pudding is in the
eating, and the EAR 859 does not disappoint. It has that unique valve sound, but
without the usual single-ended ''mush''. All of Tim de Paravicini�s designs bear
the influence of his experience designing and using professional products, and
this clearly shows. Hi-fi reviewers around the world have acclaimed the EAR 859
as, to quote one South African Magazine, ''The finest Integrated Valve Amp we
have ever heard.'' In England, Ken Kessler of Hi-Fi News summed up his review by
saying ''yes, yes, yes, yes,'' and even in Japan, the world's most diverse and
intense market, the '859 has won critical acclaim from Japan's most prestigious
hi-fi magazine ''Stereo Sound''. It was honoured so highly as to be nominated
for the ''Component of the Year'' (COTY) award, and was highly commended; an
outstanding achievement for a 13 watt single-ended valve amplifier
EAR 899 Amplificatore Integrato con uscita pre per
bi-aplificazione 70 W valvole: 2 X ECC83, 2 X ECC85, 8 X
KT90
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 useThe 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.
Amplificatore integrato a valvole 50 W a
valvole: (6 xEL84, 5x ECC82 per canale)
The V12, the latest brainchild of Tim de Paravicini, is a completely new concept
in valve amplifier design. Forget other more conventional designs - the V12 is a
totally "clean sheet of paper" design. The output valves are indirectly heated
EL84/6BQ5 pentodes, 6 per channel. The parallel push-pull class "A" circuit
features Pentode Mode. This circuit provides superb linearity and very low
distortion. In addition, the V12 uses Tim de Paravicini's highly developed
Balanced Bridge Mode, a custom ultra-wide bandwidth output transformer, and no
overall feedback. The key design goals for the V12 were to extend frequency
response at both ends of the spectrum, improve low-level detail, and provide
perfect loudspeaker coupling. All have been successfully achieved, along with
superb reliability from the low-priced Pentode output valves. The amplifier is
perfectly stable into any load, and will offer years of reliable service.The
circuit is not the V12's only unique feature; the casework is also unique. Tim
wanted a more natural, harmonious look to his new amplifier, something less
aggressive than traditional designs with their exposed, industrial looking
transformers, hard angles, and valves sticking up in the air. The fascia is
rounded, in a half-moon shape, with the left and right channel valves positioned
on opposing sides of the top of the chassis. The V12's finish is exemplary, with
wood-capped valve covers, chrome fascia, and gold-plated control knobs.
The name V12 was inspired by Tim's passion for the classic Jaguar V12 engine.
Tim decided to use 6 EL84's per channel in the new circuit. Comparisons to the
best motor car engine in the world are valid, for this amplifier is so very
smooth and sophisticated. There is very little to give the V12 away as a valve
amplifier. Its openness, speed and authority are beyond comparison. Seeing and
hearing is believing. The amplifier is 50 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. Specification
Power Output - 50 watts per channels 20Hz to 20 KHz Power Bandwidth - 12Hz-60
KHz -3dB (half power) I.M.D - Less than 0.5% Output Damping Factor - 10 Signal
to Noise Ratio - 93dB (less than 0.4mv) Input Sensitivity - 400 mV Input
Impedance - 47kOhms Power Consumption - 200V/A Weight - 22kg Size - 42cm(W) x
44cm(D) x 13.5cm(H) Valve List - 10 x ECC83(12AX7), 12 x EL84(6BQ5)
PREAMPLIFICATORI
EAR YOSHINO
EAR 834L
€.1.550,00
Per offerta
TELEFONA/ E-MAIL
EAR 834L Preamplificatore stereo linea a
valvole, Finitura Nero valvole: 1 X ECC83, 2 X ECC82
EAR 834L De Luxe serie “De
Luxe”, Finitura Cromo/oro valvole: 1 X ECC83, 2 X ECC82
2.580,00 euro
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. *Discounting occasional random premature failure of valves.
EAR 868L Preamplificatore a valvole di linea
2 ingressi sbilanciati più tape, 3 ingressi bilanciati XLR, trasformatori
di uscita. Con telecomando solo volume
EAR 868PL
Preamplificatore a valvole con ingresso phono MM/MC (come 88PB), 2 ingressi
sbilanciati più tape, 3 ingressi bilanciati XLR, trasformatori di uscita. Con
telecomando solo volume 6.970,00 euro
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 our 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.
Specification Inputs - 1 x phono 5 x line level unbalanced (RCA phon Tape Out -
1 x tape monitor Output - 2 sets Balanced XLR 2 sets Unbalanced RCA Pho Line Amp
- S/Noise Line Amp = 90dB (1v out ref) Phono section - Noise (weighted) = -80dB
(IHF) Input Impedance - Phono 47k ohms MC input40 ohms(as standard t Maximum
Output - 5V into 600 ohms(Both balanced & unbalanced o Power Consumption - 24 W
max total
EAR 912
Preamplificatore a valvole di riferimento con doppio ingresso phono MM/MC
completamente regolabili, 2 ingressi sbilanciati più tape, 3 ingressi bilanciati
XLR, trasformatori di uscita, VU Meter per il controllo del segnale in uscita.EAR
912 Versione con telecomando solo volume 12.050,00 euro
For
over 20 years, Tim de Paravicini's EAR brand name has been associated with valve
amplifiers of legendary quality and reliability. Classics such as the 500-series
power amplifiers, the 802 preamp, and more recently the V20 integrated amp and
the 800-series 'Enhanced Triode Mode' models are among the most prestigious
hi-fi products ever made and have attracted praise and awards the world
over.Although Tim de Paravicini has been designing transistor-based circuits
since the days of the very first commercial transistors, he has never before
produced a solid-state amplifier under his own flag. But now, after years of
breaking with everyone else's traditions, he has broken with his own and
produced the 312 Control Centre, a fully-featured preamp which redefines the
world of solid-state just as EAR amplifiers have done for the world of valves.
Taking into account the current growth in the number of sources in many hi-fi
systems, the 312 offers no less than eight inputs, three of which are balanced
and transformer-coupled. What's more, there are six outputs: three each balanced
and unbalanced, and because they are also transformer-coupled it is perfectly
possible to use both types simultaneously (for instance in multi-amped systems)
without upsetting the balanced outputs. This means that six stereo power
amplifiers can be driven at once.As you would expect from an EAR product, the
phono input also features transformer coupling for moving coil cartridges,
ensuring the lowest possible noise, and in order to ensure very high overload
headroom and complete stability the RIAA equalization of the phono stage uses an
inductor in a unique EAR circuit configuration. The basic amplifying circuit
uses just three transistors in a single-ended configuration, a 'valve-like'
approach that harnesses the gain of the transistors in such a way as to give
sound of unequalled sweetness and clarity. Complete compatibility with other
equipment is achieved through the very high input and output headroom of all
circuits, plus their low noise. Again drawing on de Paravicini's expertise in
the field of transformers and inductors, the power supply uses a choke input
filter to give very low noise and ripple, and very low dependency on the purity
of the incoming electricity supply: it also generates very low levels of
interference on the household supply without requiring any additional
suppression components. Simple and intuitive operation has always been a feature
of EAR products, and to this end the 312 uses a very high quality and high
accuracy volume control with a conventional single-turn range, in conjunction
with a unique meter-like scale which clearly indicates circuit gain. Channel
balance is maintained to close tolerances right down to whisper-quiet levels.
Finally, it should be hardly necessary to mention that like all EAR products the
312 is built to the highest standards and immaculately finished so that it looks
as good as it sounds. It will set standards for a long time to come.
Paravicini 312 Preamplificatore a Transistor di Riferimento con telecomando,
controllo di volume ad alta precisione, circuitisingle ended in classe “A” a bassissimo rumore, ingresso phono MM/MC di
altissimo livello, completamente
Bilanciato ingessi e uscite XLR, strumento per la segnalazione del guadagno e
dei livelli
PREAMPLIFICATORI PHONO
EAR YOSHINO
EAR 834P
€.1.550,00
Per offerta
TELEFONA/ E-MAIL
EAR 834P Preamplificatore Phono a valvole, Finitura Nero solo per testine MM
valvole: 3 X ECC83
VERSIONE CON VOLUME
1.600,00 euro
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. Our 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.
EAR 834P Signature Preamplificatore Phono a valvole, “Signature” Finitura Nero
per testine MM / MC valvole: 3 X ECC83
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. Our 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.
EAR 834P De Luxe Preamplificatore Phono a valvole, “De Luxe” Finitura Cromo/oro
testine MM / MC valvole: 3 X ECC83
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. Our 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.
MC4 Cartridge Transformer An ''Ideal Transformer'' must by definition 'transform
one kind of energy to another without loss' no more or no less! We have achieved
results for audio close to the ideal, for it will allow the very best of ''Moving
Coil'' cartridges to extract the most possible information out of the groove.
Most Active ''Head Amps'' have many flaws which inhibit the release of all the
possible information out of the groove because the laws of economics and physics
prohibits most designers from achieving the ideal, which is wide bandwidth
minimal time distortion, minimum noise contribution, and maximum protection from
external influences. The Moving Coil cartridge is a much more efficient
converter of energy than Moving Magnet but has the great disadvantage that its
voltage ouput is not really practical for most amplifier technology to handle it.
So if we take its product of voltage times current and transform it to a
suitable form for most amplifiers to handle it we then find that we actually
have gained an advance over the Moving Magnet in noise figures of at least 6dB.
This means that we can achieve 90dB of dynamic range that the record potentially
offers. Specification Hum Rejection - Greater than 60dB Channel
Separation - Greater than 70dB (20-20KHz) Channel Balance - Less than
0.1dB Rise Time - 2lsecs (any level) Phase Linearity - Less than +,-
5 degrees (20-20KHz) Frequency Response - 3Hz- 100KHz +0.2dB-1.0dB Voltage
Gain - X30, x24, x18, x10 Input Impedances (nominal) - 3 ohm, 6 ohm, 12
ohm, & 40 ohm, Equivalent Noise Contribution - Less than 1dB
EAR 88PB Preamplificatore Phono a valvole con 2 ingressi MM o MC (impedenza
regolabile)
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
Paravicini 324 Preamplificatore Phono a Transistor a 2 ingressi 1 MM e 1 MC
impedenza e capacità regolabile
The
EAR 324 is the perfect solution for the vinyl-loving audiophile who demands the
highest quality and the greatest flexibility. It features perfectly tailored
inputs for both moving coil and moving magnet cartridges and offers accurate,
low-noise amplification with vanishingly small signal degradation.It has long
been realised that amplifying the tiny signal from phono cartridges is one of
the hardest jobs in electronics. Designer Tim de Paravicini has been devising
elegant and efficient solutions to the problem over several decades, and the 324
represents the summary of his thinking. A fully transistorised product, it draws
heavily on his acclaimed ''312 Control Centre'' preamplifier in its circuitry
but adds flexibility with switchable input impedance for both moving coil (MC)
and moving magnet (MM) cartridges. Two separate inputs allow easy switching
between two turntables (or two arms on one turntable), ideal for the serious
collector who may have a separate deck and pickup for mono discs.Of those inputs,
Input One is switchable for MC or MM cartridges. In MC mode, a built-in step-up
transformer (the same as in the Yoshino MC3 standalone transformer) gives
optimum noise performance and matches the cartridge through 4ohm, 15ohm and
40ohm windings. In MM mode, impedance is fixed.Input Two is a specialist MM
input with switchable resistance and capacitance loading to optimise response
from any high quality MM cartridge. Both inputs feed into a very low noise, low
distortion and high headroom amplifying stage which uses a unique RIAA
equalisation scheme to optimise stability and sound quality.Balanced and
unbalanced outputs with a low source impedance ensure that any line preamplifier
can be comfortably driven through almost any amount of good quality cable. Gain
is equivalent to 54dB at 1kHz (1.2V out for 2.5mV in, MM) but can be reduced by
6 or 12dB if needed. Absolute phase is switchable and mono operation can also be
selected.With EAR/Yoshino's famed sound quality and reliability assured, the 324
is truly the phono stage of choice for the dedicated vinyl enthusiast. Winner of
"Top Hi-Fi Show 2005" Award (Russia)
EAR534 Amplificatore
stereo a valvole da 50 W (100 Mono) valvole EL34
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. Specification Signal to Noise Ratio -
92dB Output Damping Factor - 18 I.M.D. - Less than 1% at any level from 10mW to
50 Wat Power Bandwidth - 15Hz - 40kHz at less than 3% THD Power Consumption -
260 watts total Power output - 50 watts/channel (24Hz - 15kHz at 1% THD int
Weight - 20kg Input Impedance - 47k Ohms Size - W 16'' (405mm), D 16'' (405mm),
H 6'' (150mm Valves List - 2 x ECC83, 2 x ECC85, 8 x EL34 Input Sensitivity - 1V
EAR890
Amplificatore stereo a valvole da 70 watt (140 W mono) valvole KT90 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.
EAR 861 Amplificatore stereo a valvole da 32 W in classe “A” a Triodo valvole 2
x ECC83, 6 x PCC88 and 4 x EL519
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
Amplificatori finali “Silver Jubilee” Limited Edition
EAR 509 Finali mono a valvole con telaio Cromato e ingressi sbilanciati, 100W,
la coppia EAR 509 Finali mono a valvole con telaio Cromato e ingressi bilanciati, 100W, la
coppia 13.979,00 euro 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.Specification
Power Consumption - ...................180V.A. Frequency Response -
8Hz-30KHz............+0-1dB Power Output - (20Hz-20KHz<0.25% THD into Rate Load)...100W
Power Bandwidth - -3dB,0.5% THD.......12Hz-60KHz Frequency Response -
3Hz-80KHz..........+0-3dB I.M.D. - at any level from 100mW-100W equivalent
power Signal to Noise Ratio - down from 100W.......96dB Output Damping Factor -
(0.4ohm + 4uH)....20 Weight - .....................18kg Input Sensitivity
- (Unbalanced).........1.2V Input Impedance - (Unbalanced).........25Kohm
,Size - 12''(30cm)W........10''(25.4cm)D.......6''(15
EAR YOSHINO
PARAVICINI
M100
€.46.740,00
Per offerta
TELEFONA/ E-MAIL
M100
Finali potenza di riferimento, mono a Transistor 100 W in pura classe “A”,
trasformatori in uscita e configurazione
atipica, la coppia
Tim
de Paravicini established EAR in 1979, since when the brand has been renowned
worldwide for the finest valve (tube) amplifiers. But in 2000 the tradition was
broken with the Paravicini 312 transistor preamplifier, now joined by the M100
transistor power amplifier. To anyone familiar with EAR/Yoshino products, it
will come as no surprise that this is no ordinary transistor amplifier. Designed
explicitly to provide a 'valve-like' sound from transistors, it uses de
Paravicini's unrivalled expertise in audio transformer design to the full, with
a unique single-ended output stage coupled to the load through an output
transformer. Being single ended, the M100 naturally operates entirely in Class
A, with all that that implies for clarity and purity of sound. High reliability
is assured by the use of multiple parallel output transistors, with adequate
heatsink area for any climate (no noisy cooling fans), and the essential
simplicity of the audio circuit helps with both sonic and reliability aspects. A
choke-input power supply gives maximum immunity to mains supply variations and
also prevents the amplifier from corrupting the mains supply in turn. With an
output power of 100W the M100 has the ability to drive almost any loudspeakers
to symphony-orchestra levels. For the discerning listener, it offers new heights
in sonic attainment. Contact your local EAR/Yoshino representative to arrange a
demonstration. Specification Input impedance - 47k ohm Damping factor: - 8
Frequency response (at 1W output) - 3dB at 3Hz, 40kHz Maximum output - 100W
(28VRMS on 8 ohm terminals) Sensitivity: - 1V for full output Frequency
response (at 1W output) - -3dB at 3Hz, 40kHz Power bandwidth - -3dB at 20Hz,
40kHz
L’amplificatore per cuffia
HP4 Amplificatore per Cuffia a valvole: 4 X 6SL7
Tim
de Paravicini has long had a worldwide reputation for valve preamplifiers and
power amplifiers. Now he has applied his expertise to produce what is arguably
the world's finest headphone amplifier aimed at the highest quality dynamic
headphones. The HP4 uses 6SL7 valves, properly matched to the load through de
Paravicini's renowned transformers, to deliver nearly 1W of high quality, low
distortion power into high or low impedance headphones. The output circuit
configuration uses de Paravicini's 'Enhanced Triode Mode', as employed in the
highly successful V20 and 859 integrated amplifiers, while the input is also
transformer coupled, giving the flexibility to accept balanced or unbalanced
signals from the preamplifier. For the greatest user convenience the HP4 has its
own volume control, while input signals can be independently switched through to
the power amplifier for headphone and/or loudspeaker listening. As with all EAR
products, reliability is paramount and valve life is in excess of 10,000
hours. 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. *Discounting
occasional random premature failure of valves.
DAC
EAR YOSHINO
192 DA
ACUTE
€.5.410,00
Per offerta
TELEFONA/ E-MAIL
Convertitore D/A a Valvole, uscita con volume a
potenziometro motorizzato per poter pilotare anche un finale direttamente senza
preamplificatore, Ingresso digitale USB, PDIF, Toshlink, finitura Ottone
Cromato+
Versione cromata 6.000,00 euro
With the EAR DAC Tim de Paravicini has applied
his world renown knowledge and attention to detail in the analog world to the
digital domain. The DAC boasts a digital to analog converter with low jitter
clock and enhanced operation. The DAC is armed with a Cirrus SPDIF receiver,
enabling the DAC to interface to your existing digital setup and accept up to
24/192 digital input from USB, coaxial SPDIF and Toslink SPDIF inputs.
Immediately upon returning to the analog domain, the audio signal is passed to
analog filters of Tim de Paravicini's own design. The audio is output from a
transformer-coupled ECC88 tube line output stage as in EAR pro audio equipment.
This allows true floating balanced output as well as identical quality
unbalanced line out by RCA connectors. The maximum output is 5 volt, which means
it can drive directly any power amplifier of any type, with analog volume
control that can be controlled by remote handset.The results are accurate, clean
smooth sound, yet detailed, open and dynamic, lacking the overly-crisp, a
musicality of many highly-regarded digital to analog converters. Many audio
designers claim to make digital players that sound "like vinyl." Unlike most,
Tim de Paravicini, with the DAC, has actually done it.
EAR YOSHINO
DA
4
ACUTE
€.6.480,00
Per offerta
TELEFONA/ E-MAIL
Convertitore D/A a Valvole (4x PCC88). Possiede 7 ingressi
separati: 1 Analogico, 1 digitale USB, AES, 2 SPDIF, Toslink., 1 dedicato per il
CDAcute 4 (Acutelink). Dim. 435x285x65mm Peso 8,5Kg. Finitura Cromo.
COMPACT DISC
&
MECCANICHE
EAR YOSHINO
CD ACUTE
lll
€.5.600,00
Per offerta
TELEFONA/ E-MAIL
CD Acute Lettore CD a Valvole, uscita con volume a potenziometro motorizzato per
poter pilotare anche un finale versione
direttamente senza preamplificatore, Telecomando e finitura alluminio
+ cromata6.190,00 euro
The
CD player acute has true balanced outputs with a tube line amp using
transformers. Peak level is 5 volts.
It also has a true analogue remote controlled volume, so that you can use it in
a minimalist system to drive directly any power amp.Front panel is 19 inch rack
style. Only plays standard CD not SACD, accurate clean smooth sound more like
vinyl.
EAR YOSHINO
CD ACUTE
4
€.3.780,00 Per offerta
TELEFONA/ E-MAIL
Meccanica di Lettura SACD di nuova generazione, con telecomando.
Uscita digitale (XRL) AES, e connessione dedicata al DACute 4 (Acutelink). Dims
435x285x65mm. Peso 7,30 Kgs
The
current resurgence of the LP has a new champion! Amid the many new turntables
gracing the market, few if any offer as many novel features as EAR Master Disk.
But this is not novelty for the sake of it, and we are proud to announce a new
raising of standards. Most striking perhaps is the all-new �no contact� drive
system. The need to transfer power to the platter of a turntable has always been
a source of trouble, as any system with the capacity to transfer power can by
the very same means transfer vibration too. Flexible rubber belts have proved a
fairly satisfactory solution, but suffer problems of slip and hence slightly
uncertain speed, and they also pull the platter sideways which can result in
stability problems. Now Tim de Paravicini, the renowned designer of EAR
amplifiers, has come up with an ingenious solution that solves all these
problems. A low-noise motor, controlled by a carefully optimised servo loop,
drives a sub-platter via a toothed belt. This immediately eliminates slip and
ensures that speed is absolutely controlled. The sub-platter drives the main
platter via a clever arrangement of opposing magnets. Again, this cannot slip,
but it allows just enough compliance to filter out any remaining vibration from
the motor and belt, whilst applying a fully symmetric driving force. Bearings
are another problem for any turntable designer. We have solved this by using
precision Swiss angular contact bearings which are at least as quiet as the more
common �point contact� types but wear much more slowly, so that performance
after years of use will be as good as on initial purchase. The platter is made
of an ultra-low resonance composite of resin and inorganic filler, accurately
machined and supported on an instrument-grade aluminium chassis. Adjustable
damped feet support the assembly and all the usual arm types can be mounted and
adjusted with ease.For the ultimate in flexibility all three speeds - 33, 45 and
78 - are offered, with a fine adjustment control for 78 to accommodate discs cut
at non-standard speeds. Truly a turntable for the connoisseur!
Primary Drive Small Diffusori sensibilità 92 db
impedenza 6,5 ohm
Primary
Drive Loudspeaker Coloration occurs when an audio signal is altered by the
device producing the signal. In practice, no loudspeaker is free of coloration,
but closed-box designs are particularly susceptible. Coloration is caused by
resonance and reflected sound within the cabinet. It is usually tackled by
making the box as rigid as possible, with a consequent increase in weight and
mass. Internal reflections are controlled by filling the enclosure with an
absorbent material like wool or fiberglass. These methods do not eliminate
coloration�they merely place it below the musical signal, where it is not
particularly noticeable. Volumetric damping also reduces efficiency and curtails
the speaker�s dynamic performance.. In phase-inversion systems, the box is, in
effect, tuned by the use of a tube or port. However, only a narrow band of low
frequencies is covered, and in effect, the low-frequency output from the rear of
the driver is added to that from the front.Transmission-line and horn loading
are also used, both of which require large enclosures. Horn loading is used
where high efficiency is required, but for acceptable low-frequency results, the
horn flare needs to be several feet across. Electrostatic loudspeakers, which
use a different principle of operation to moving-coil devices, are often low in
coloration, but they usually have low power handling, poor efficiency, and have
difficulty producing low frequencies. An ideal loudspeaker would be of
acceptable domestic size, and would have the low coloration of electrostatic
designs with the power handling and dynamic qualities of the best moving-coil
designs. Such a loudspeaker now exists! The Primary Drive Loudspeaker is a plane
wave propagator with a dipole polar response. No damping material of any kind is
employed. The Primary Drive uses three moving-coil drivers, two of Primary Drive
design plus a conventional dome tweeter. The drivers are mechanically
isolated from each other, in three separate modules. Power handling is 200 watts
AES. Efficiency is 90dB (1w/1m). Because the Primary Drive Loudspeaker has no
panel or enclosure loading, it lacks box or panel coloration. No reflected sound
(other than that produced by the room) is produced. The inherent smoothness of
the system allows for the use of simple, high-quality, high-power-handling
series inductors and capacitors in the crossover. Only three highly-rated
crossover components are used. The Primary Drive Loudspeaker is capable of
producing high-definition, dynamic bass at high sound-pressure levels. It is
capable of reproducing the subtle quality of the bass produced by many acoustic
instruments. Many loudspeakers generate extended bass, but do not allow the
listener to determine the exact nature of the instrument producing the bass. In
the midrange�the most vital part of the frequency spectrum�the Primary Drive
Loudspeaker utilizes a 5-inch, studio-quality driver that covers the frequency
range between 160Hz to 8kHz.This wide range was chosen to ensure a seamless
midrange presentation. The midrange of the Primary Drive Loudspeaker is fast,
uncolored, and tonally accurate. Treble frequencies are handled by a
high-quality dome tweeter loaded into a diecast horn that extends the response
to 25kHz. The Primary Drive Loudspeaker retrieves a high level of information
and produces excellent imagery. The soundstage is projected to the rear of the
speakers, with exceptional lateral imagery and a solid, deep soundstage. The
phase coherence of the system Ensures that the image is very stable, within a
wide listening area. The Primary Drive Loudspeaker is available in two sizes.
The smaller of the two is suitable for small- to medium-sized rooms, the larger
for medium- to large-sized rooms. The midrange drivers and tweeters are
identical in both speakers, and the woofers are identical except for size
(8-inch in the smaller speaker and 10-inch in the larger) The Primary Drive
Loudspeaker offers a unique listening experience, with an unmatched combination
of low coloration, high power handling, high sensitivity, and exceptional
imagery, detail, and dynamics.
Legenda istruzioni
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per qui per vedere : FOTO PRODOTTO
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per qui per vedere : ISTRUZIONI PRODOTTO
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per qui per vedere : CATALOGO,PROVA RIVISTE SPECIALIZZATE PRODOTTO,SPECIFICHE
PRODOTTO
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There
are very few modern designers in the audio field who can claim as much as de
Paravicini. No aspect of the recording and reproduction chain has been left
untouched, no aspect of circuit design not further researched and developed. As
early as 1965 Tim was involved in custom design work for rock and roll bands;
manufacturing his own public address equipment, and modifying existing studio
equipment to realise even greater potential. A move to South Africa from England
saw a further development of his own unique design genius, and the launch of his
own professional amplifier product, sold simply as “de Paravicini”. While
working in South Africa, Tim had a chance meeting with representatives of the
Lux Corporation, and in 1972 was invited back to Osaka, Japan, and offered a job
as audio designer. Tim soon put together some very interesting designs for Lux,
including the remarkable C1000/M6000 pre/power amplifier combination. One of his
own favourite designs from this period was the Luxman 3045 tube mono block. At
the time, this was the only mono block design available in the audio field, and
backed up de Paravicini’s preference for locating the power amplifiers close to
the loudspeakers. Tim also designed the actual output tube for this amplifier,
the 8045 power tube. As always with his designs, the output transformer was a
custom de Paravicini design. In 1976 de Paravicini returned to England, and very
quickly made an impact as a design consultant, initially working with the ALBA
Radio Corporation, and Tangent Loudspeakers. Tim was also responsible for the
later ranges of Michealson and Austin tube amplifiers, including the TVA10 and
M200 mono blocks. Within a year, he had set up Esoteric Audio Research Ltd., and
was marketing the remarkable EAR 509 100 watt professional tube mono block power
amplifiers. He developed a unique output transformer/tube interface circuit
called “balanced bridge mode”, in which all the electrodes (except the control
grids) have their own separate windings on the thirteen-section, biflar wound,
output transformer. In addition, the amplifier has no overall feedback,
something of a de Paravicini trade mark. Technically this amplifier proved that
tubes are capable of performing equally as well as transistors in a laboratory,
with a specification that included a power bandwidth of 9-85,000 Hz, -3dB, and
also proved that tubes are capable of better things than the “retro” sound some
manufacturers look for. Subjectively the 509 amplifiers were a big hit. Although
aimed at the professional market, several Hi-Fi magazines picked up on the
509’ss, and compared them to the then State of the Art domestic High End
equipment. The fact the 509 beat all of the competition at the time helps
explain why the 509 is still in production today. the 509 was designed by de
Paravicini to have no sound; trying to sum up the 509 is hard, it does not offer
the warm ‘comfortable’ tonal quality which so often mark most tube amplifiers
out. They are remarkably clear, transparent, with firm realistic bass,
effortless top end, detailed and very alive. In the twenty years since 1976, Tim
has designed a mammoth catalogue of Hi-Fi and Studio components, both for
Esoteric Audio Research and for other domestic audio companies. Currently the
‘E.A.R.@ professional product range includes a tube capacitor microphone, built
with a rectangular gold spluttered capsule. A design which easily betters the
classic European designs. Tube microphone preamplifiers, tube equalisers, record
cutting systems, analogue to digital converters (for CD mastering) plus custom
components and servicing for some of the Worlds most famous recording artists.
His is most famous in the studio industry for the stunning analogue tube master
tape recorders. These units have very special custom designed heads, and are
capable of digital levels of signal to noise ratio, with a bandwidth in excess
of 8Hz to 80,000Hz! Work for the recording industry has brought critical acclaim.
On the ‘Waterlily’ label, “A Meeting by the River” received a prestigious
‘Grammy’ award for its sound quality. This was a mid/side technique recording
using a pair of crossed microphones. Waterlily’s microphones, preamplifiers,
analogue master recorder and A/D converter were all built and designed by Tim.
In 1985, de Paravicini introduced his new record cutting system. Now installed
at ‘The Exchange’ in the heart of London, (originally Island Records ‘Sound
Clinic’ facility). This is phase corrected, and uses in excess of 1,000 watts of
tube audio power, based on the classic EAR 509 circuit. The cutter head is again,
a custom design, and is capable of cutting deeper, wider grooves than any other
system. The result is higher dynamics, with a true signal to noise ratio in
excess of 65 dB from records pressed off a master cut on this system. It is
truly as close to the original master tape as it is physically possible to get.
Throughout the past twenty years, Tim has worked with many different
manufacturers. For London based Musical Fidelity, Tim designed the amazing A1,
taking the concept of a cut down ‘High End’ audiophile amplifier, the only
compromise being the 10 watts output, albeit pure class ‘A’. Other products
designed for ‘M.F.’ include the A470/370, P270, Digilog, CD-T, etc. More
recently in Europe, the ‘Tube Scene’ in domestic audio has really taken off. A
lot of European manufacturers have stolen both older European designs, and
designs from Japanese magazines and journals. Most of these amplifiers are very
poor sounding, and terribly unreliable. These manufacturers neither understand
the designs or how to build them. They use the reputation of tubes to sell their
poor, none original product. De Paravicini’s answer to these companies, was the
award winning EAR 859 amplifier. His all new Enhanced Triode Mode circuit
bettering the performance of directly heated triodes designs. It provided the
public with a real design, from a professional maker. The EAR 834P phono stage
was also introduced, and similar to the ‘859 has proved very popular, offering
un-rivalled performance per dollar. The particular speciality being the stunning
Moving Coil stage transformers - transformer design being one of Tim de
Paravicini’s fortes - unlike most manufacturers, who just buy in ‘off-the-peg’
transformer designs or just specify the most basic requirement to an outside
supplier. All EAR amplifiers are truly original, including the custom
transformer, metal work, circuit printed cicuit board. All the work of Tim de
Paravicini. Tim de Paravicini works by a simple premises: If he designs it, it
must be a better design than anything else, or he will not manufacture it. His
sole goal is taking audio to the furthest possible point of development. Current
research is taking him further along this path than any single competitor.
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