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EAR 912 Yoshino preamplifier

EAR 912 apertura con logo

 

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EAR 912 Yoshino preamplifier

 

See Equipments “Quotations” on Vintage HiFi Club

 
EAR 912 Yoshino preamplifier . Ascoltare un preamplificatore di Tim de Paravicini, il 912 top di gamma, è certamente un avvenimento, poiché la categoria economica in cui si pone (11.500,00 euro-12.050,00 versione con telecomando), lo mette nella schiera dei pre “importanti”. E importante questo pre lo è davvero, sia perché ha una timbrica che apprezzo particolarmente (chiara e neutra senza colorazioni), sia perché la sua sezione phono per testine MM e MC (regolabile in diverse modalità dal pannello frontale) è di tutto rispetto, sia perché, infine, è un pre che si può inserire a pieno titolo in catene audio di alto o altissimo livello.

 

 

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La naturalezza sonica unita alla musicalità e alla vivacità dinamica sono le caratteristiche distintive del 912.
Vogliamo poi parlare della ricostruzione scenica? Dal momento che questo pre è un tutto valvolare, ha già le carte in regola per ben figurare in questo parametro.

Ma non basta essere valvolari per avere una solida, concreta e ben strutturata scena sonora. Bisogna avere anche un progetto realizzato da un personaggio importante come Tim de Paravicini. Certo non è l’unico progettista di grandi pre; penso a Ken Stevens (Convergent), a William Z. Jhonson (Audio Research), a Sarat Dyssanayake, a Hiroyasu Kondo (Audio Note), a Vladimir Lamm (Lamm) ed alti per rimanere in ambito valvolare, ma De Paravicini mette nei suoi prodotti un qualche cosa di particolare: l’esperienza maturata in una vita dedicata alla riproduzione musicale, da quando iniziò a mettere a punto i sistemi sonori per artisti del calibro di George Harrison, Ry Cooder e Pink Floyd.
La componentistica usata, la realizzazione tecnica e la finitura estetica ne fanno un prodotto molto desiderabile.
Una ottima elettronica realizzata da un altrettanto straordinario progettista.

Bruno Fazzini

 

 

D.M.L. Audio - P1010156

 

 

E.A.R.-Yoshino
“Comunicato di Tim De Paravicini”
“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.
http://www.dmlaudio.net/prodotti/ear-yoshino/

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Stereophile

EAR 912 preamplifier
By Art Dudley • Posted: Dec 24, 2005

My opinions keep changing—more evidence of life before death, I suppose—including my thoughts on audio-system hierarchies. I used to think that preamps were among the most sonically influential components, certainly more so than power amplifiers. I’m not so sure anymore (footnote 1).
That doesn’t leave much to write about whenever a new preamplifier does come my way, so I’m filling the void with my expanding concern for creature comforts: More than anything else, the preamplifier is the ergonomic focus of any decent music system, so I’m here to praise it for that. Now I’ve got something to care about again.

 

 

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Viewed in that light, Esoteric Audio Research’s brand-new EAR 912 control preamp (EAR’s UK website calls it a Professional Tube Control Centre) seems to have been lifted from my dreams. A true full-function tube preamplifier—it combines line-level gain with phono gain and equalization—it’s equipped with two pairs of equally configurable phono inputs, internal moving-coil step-up transformers, a mono switch, six pairs of line-level inputs (two of them balanced), two pairs of outputs (one balanced), and, best of all, a pair of VU meters. If you’re wondering why I’ve never mentioned a need for VU meters, it’s because I wasn’t aware of it until now.

I’ll get back to those in a minute. But first, let’s have a look at the EAR 912’s basic architecture.

 

 

EAR 912 preamplifier 2
Design
EAR’s Tim de Paravicini has designed his newest preamp around the 7DJ8 dual-triode tube (called the PCC88 in Europe). The EAR 912 uses three of them in the phono stage—where one tube splits its chores between the two channels—and another two for the line stage. As the renowned Mr. de P told me recently, the 7DJ8 is a tube he knows well, having designed a fair amount of his pro gear around it, and he points in particular to its exceptionally long life. (The arguably more common 6DJ8 can be substituted, if desired, notwithstanding a slightly different filament voltage requirement—although in such a case it’s best to replace all the tubes in a given stage at once.)….See more

 

 

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E.A.R. Yoshino
web address: www.ear-yoshino.com

E.A.R. USA
web address: www.ear-usa.com

 

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Positive Feedback

E.A.R.
912 Professional Tube Control Centre
as reviewed by Robert H. Levi
I have noticed over the last 5 years or so that as loudspeakers have become more detailed, extended, and dynamic, preamps have become just the opposite. Today’s active preamps have lower gain and offer ultra neutrality bordering on passive designs. With increased finesse and sophistication, today’s top preamps are wonderful and very close to that “straight wire with gain” ideal. They are also becoming increasingly boring and lean.

 

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Those most guilty of this are solid-state designs and, surprisingly, some of the most advanced tube models. When a preamp is both neutral and dynamic, like the Conrad Johnson Art series, they do not seem to stick around long enough to be “updated” by their manufacturer, and become more reserved in the process. I like the current crop of statement preamps for the most part, but have stuck with my 7-year-old Pass X1, as it has never really been solidly, thoroughly bested. Until now!
Enter the E.A.R. 912 Professional Tube Control Centre. This is a statement preamp from E.A.R., highly evolved and tube/transformer based. It rewrites my definition of what a preamp can and should do. It is both powerful and exacting. It is both extraordinarily detailed and natural. It is focused and organic. It sounds like real music….See more

 

 

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Audiophile

Tirsdag 12. November 2013
EAR 912 balansert rør preamp
Skrevet av Rudi

En preamp må man ha når man går for separate løsninger….. hvorfor ?
Les mer:
… jo fordi en preamp er en impedanse og nivå tilpasser og man får som regel muligheten for og ha mange komponenter tilkoblet. En preamp skal helst lage minst mulig egenlyd og ikke kreere ekstra støy……… kort sagt bør signalet passere preampen så lite påvirket som overhodet mulig. Svært mange high-end produsenter (og andre) prøver alltid og fortelle deg at nettopp deres utstyr gjør dette med glans, men fakta er at det all deles ikke alltid er i nærheten av sannheten. De aller fleste merker har en klar egenlyd ut i fra hvordan konstruktøren mener ren lyd skal være og da blir det hele litt som det blir……. ren lyd for en person er grums for en annen…... See more

 

 

 

EAR 912 preamplifier 8
Description: Tubed stereo preamplifier.
Tube complement: five 7DJ8/PCC88.
Phono inputs: 2. Line inputs: 2 balanced, 3 unbalanced. Tape loops: 1. Outputs: 1 balanced, 1 unbalanced.
Input impedances, phono: 47k ohms, moving-magnet; 3, 6, 12, or 40 ohms, moving-coil. Output impedance: 600 ohms. Line-stage gain: 14dB. Phono-stage gain: 50–80dB. Signal/noise ratio: 68dB phono (ref. 2.4mV), 90dB line (ref. 1V).
Frequency response: 20Hz–20kHz, –0.3dB.
Distortion: <0.1% at 1kHz, 3V output.
Phase-inverting: No. No, no, no.
Dimensions: 19″ (485mm) W by 5.25″ (135mm) H by 10.5″ (270mm) D.
Weight: 29 lbs (13.2kg).

Price: $ 9995.
Price: £ 9,370.00
Price: € 10.683,00

 

 

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Tim De Paravicini

 

 

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Tim De Paravicini

 

 

EAR 912 preamplifier system

 

 

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