EAR Yoshino

History

Founding EAR – Esoteric Audio Research Ltd was established in England in 1976 with the EAR 509, a 100 watt valve monoblock power amplifier. The product was a balance of performance, reliability, size and cost which is why it is still in production today. The power amplifier left a solid foundation to design future EAR products. Since that time, there has been a full range of product built under this original philosophy. Ranging from studio recording equipment that captures the sound, through to recreating that sound in your living room.

Heritage – Built on the founder’s values, EAR products have a history of winning a long list of awards in a range of different product categories. These accolades are through the high-level care towards design and building of products. Values that have never changed. Leaving lasting products that customers have enjoyed over the years. Designed for those who want the very best in sound, these luxurious products have gained a great reputation on merit and are back up with great servicing and repair. The iconic vision that Tim has succeeded in creating has a strong presence, reaching all corners of the globe.

Tim de Paravicini

Bio – Tim starting work in custom designed products for rock and roll bands from as early as 1965, where he gained direct experience to the audio world. He spent time his early adult life developing, modifying and repairing existing studio equipment and audio products. Some of that time was spent in South Africa before having an opportunity to work in Japan for Lux Corporation in 1972. During his time at the Osaka based brand, Tim developed C1000/M6000 pre/power amp combination as well as the 3045 valve mono block with a custom output valve the 8045 power tube.

Along the way, he has picked up a few awards including a Grammy for sound quality and has been highly recognised by the audio community for his work in the audio industry.

Passion – Tim, despite his vast experience, still loves being active and hands-on. Splitting his time between developing studio equipment and working on the next consumer product. Any remaining downtime, you will find him tinkering or repairing anything mechanical or electrical. From Cars to Radios. Where possible, Tim enjoys contributing to the audio community and has consulted on designs for other brands such Quad, Alchemist, Musical Fidelity and Unity Audio.

Hand Made in England

Production – All products are assembled at our production facility in Cambridgeshire, England which enables us to have full control over production quality. Production engineers are highly familiar with the products with the average experience exceeding 10 years with EAR Yoshino. Each product is built from start to finish by a single engineer, fabricating a personal touch to the product that is closer to reassembling craftsmanship than the anonymous mass produced objects we have all become too familiar with. EAR’s high-end products are built from the finest materials and supplies possible. We strive to source parts locally as it enables us to partner closely with suppliers and have tight control on quality, all while reducing our transportation impact.

Reliability – Valves or Vaccum tubes can be fickle things but with our extensive experience we believe we have a better understanding than most. When designed carefully they can produce a great deal of joy from their output whilst maintaining high reliability. Allowing users to leverage the great sound they produce without the drawbacks normally associated with valves. Being a mature developed technology, they are much more timeless that you would normally associate with electronics. We like to think they are more related to mechanical products like a finely crafted swiss watch.

Studio Influence

Recording each sound – Our belief is that recording sound is as important as its reproduction. Working closely with music production that includes the Exchange (London) and Mobile Fidelity (San Francisco), gives us a deep understanding of the sounds that are needed to be recreated. Reciprocity, with these studios, we aim to help extract the maximum possible from their setup that gives some of the luscious sounds you have probably already experienced from their work.

Acknowledging our work with music production, all of our equipment has been designed for the highest demands of this environment that include high-end audio quality but also robust reliability.

In Action – Some of musical talent that use our equipment include Pink Floyd, Ringo Star, Kate Bush, Gary Barlow and Bob Ludwig.

Phono Stages

EAR Phono Classic (Chrome) $2,395. (Black) $1,895. (MM Only) $1,695.

compact high performing valve phonostage. Its simple and versatile design allows for easy setup with stunning performance. Moving Magnet capable as standard with Moving coil step-up optional. Available in black or chrome facia.Three ECC83 Valves (13D16) · Moving Magnet Standard · Moving Coil Optional ·
Volume/Gain control option · Standard Black $1,895. or Deluxe Chrome Facia $2,395. MM Only $1,695.

EAR 88PB $6,295.

Full featured dedicated phonostage with two inputs catering for the vinyl enthusiast with multiple turntables or arms. With both Moving coil and moving magnet capability as standard, its designed to handle a wide range of cartridges.Four PCC88 Valves · Moving Magnet/Moving Coil · Volume/Gain control ·
Chrome Facia with gold or chrome knobs

EAR 324 $6095.

One of the few transistor based design’s of Tim de Paravicini, the EAR 324 is a high grade phonostage worthy to be in the EAR lineup. Both Moving coil and moving magnet capability designed to handle a wide range of cartridges.Dual Phonostage input · Moving Magnet/Moving Coil · Dedicated gain control ·
Anodised silver facia with matching knobs

EAR Preamplifiers

EAR 912 $13,500.

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. Meters give useful visual correlation of levels and ensure that phono gain settings are optimal. Contains five PCC88 tubes

Reviews

EAR 868 (w/phono stage) $7,895.

The EAR 868 is a fully balanced, transformer-coupled design, offering balanced and single-ended connections at input and output. It also offers a tape loop, remote control of volume, and several load/gain selections for the phono stage.

Please see the extraordinary Reviews on the 912, on which the 868 is modeled.

Reviews

EAR 834L Chrome $3,095.

Line-level preamplifier. Five line inputs plus tape monitor circuit. Available in deluxe chrome or economical “black box” versions.

Reviews

EAR 88PB $6,295

Switchable moving magnet/moving coil phono preamplifier. Volume control allows direct connection to power amplifier. A buffer stage follows the volume control, using an output transformer which provides balanced or single-ended output at low impedance to drive long cables. Two inputs, one with switchable gain and input impedance (internal). Mono/stereo switch.

Other EAR Components

EAR MC4 $2,295.

Step-up transformer, designed to provide moving-coil capability to a preamp that has a phono stage with insufficient gain, or to upgrade an existing phono stage. Four inputs, with voltage gain at x10, x20, x30, and x40.

Reviews

EAR HP4$5,895.

Headphone amplifier. Accommodates four pairs of headphones, two high impedance and two low impedance. Single-ended and balanced inputs and outputs. Controls include on/off switch for headphone outputs and mute switch for amplifier.

Integrated Amps

EAR 834 $6,495.

Push-pull stereo integrated amplifier. 50 Watts per channel into 4, 8, or 16 Ohms. Uses 6L6, EL34, or KT66 output tubes. Self-biasing. Six line inputs and one tape output. 50 Watts/Channel · Eight EL34s · Two ECC85 Valves · Two ECC83 Valves ·
Five Analogue inputs (RCA) · Chrome Facia with gold or chrome knobs

EAR 869 $6,995.

Enhanced triode mode integrated amplifier. Building on the success of the EAR 859 with increase power output and better control of operating conditions irrespective of valve parameters and age.15 Watts/Channel · Two EL309 Valves · Two PCC88 Valves · Two ECC85 Valves ·
Five Analogue inputs (RCA) · Chrome Facia with gold or chrome knobs

EAR V12 $9,995.

Push-pull stereo integrated amplifier operating in enhanced triode mode. 50 Watts per channel into 4, 8, or 16 ohms. Uses EL84 output tubes (6 per channel). Self-biasing. Six line inputs and one tape output.

HiFi World 2011 Review

Reviews

Inspired by Performance

Referenced from Tim de Paravicini’s admiration of Jaguar’s powerplant, the EAR V12 extracts much of the same philosophy. The design utilises six EL84s on each bank for a total of twelve, the sum of which is high performance with balance and grace.

The geometry isn’t just engine mimicry but allows for an organised and compact layout with central weight distribution. This creates a design that has powerful lines and compelling proportions. Despite its bold use of chrome and adventurous styling, the EAR V12 sits proud but is not obtrusive in any environment.

EAR V12Push-pull stereo integrated amplifier operating in enhanced triode mode. 50 Watts per channel into 4, 8, or 16 ohms. Twelve EL84 output tubes (six per channel). Self-biasing design with six line inputs and one tape output. Read more >

Power Amps

EAR 534A $6,795.
Push-pull power amplifier with 50 watts per channel stereo utilising eight EL34 (four per channel) into 4, 8 and 16 ohms. Self-biasing operations with balanced or unbalanced inputs. Chrome facia. 50 Watts/Channel · Eight EL34s · Two ECC85 Valves · Two ECC83 Valves · Chrome FaciaEAR 890 $8,295.
Push-pull power amplifier using eight KT90 output valves (four per channel). 70 Watts per channel stereo (bridgeable to 140 watts mono) into 4, 8, or 16 ohms. Self-biasing design with Balanced or unbalanced input.70 Watts/Channel ·Eight KT90 Valves · Two ECC85 Valves · Two ECC83 Valves · Chrome Facia

EAR 509 $15,000 (RCA) $16,000 (XLR) Pair

Professional monoblock amplifiers. 100 Watts per channel into 4, 8, or 16 ohms. Available with either RCA or true balanced inputs. No feedback used on the transformer secondary. Entirely stable into any load.