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E.A.R. Integrated Amplifiers

There are some people who may not realize that E.A.R. manufactures a wide-ranging line of integrated amplifiers that compete in terms of features and build and sound quality with any integrated amplifier available at any price.  If you are part of the SET crowd, E.A.R. has an integrated amplifier for you.  If you have a tough speaker load to drive, E.A.R. has an integrated amplifier for you.  If you like tubes or if you like transistors, E.A.R. has an integrated amplifier for you as well.

Please read on to learn more about these exquisitely designed and built integrated amplifiers.  For questions, please call 573-696-3551 or email info@audiointelligent.com.  To order, please give us a call or visit our Online Store.

Vacuum Tube Integrated Amplifiers

E.A.R. 834 

Winner of The Absolute Sound Golden Ear Award 1999.

Parallel push-pull pure class A circuit stereo valve power amplifier with control unit built in.  6 RCA line inputs, one tape output, and one pair of speaker output terminals. 50 watts per channel power output into 4, 8 or 16 ohm.   Push-pull operation from input to output.  Low overall feedback design.  Self biasing.

E.A.R. 834

Specifications

E.A.R. 8L6

The 8L6 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. The 8L6 is identical to the 834 with the useful exception described below. 

The 8L6 can be used as an integrated amplifier or as separate preamplifier and power amplifier. This is selected with 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 six 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 equalizer 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.

E.A.R. 8L6

Specifications

E.A.R. 869

The E.A.R. 869 is descended from the 859, the model that firmly placed Tim de Paravicini at the forefront of the SET amplifier movement.

His design for the 859 bypassed conventional circuits, most of which use classic valves such as the 300B, 211, or 2A3, and based his design on his long-standing favorite output valve, the EL519. Conventionally connected, that valve is a pentode, but Tim's contribution was to invent a new type of connection, which operated it as a triode, a connection he dubbed Enhanced Triode Mode, or ETM for short (the name highlighting the analogy with Enhancement Mode MOSFETs). Normal triode-connected pentodes have the screen grid connected to the anode, but Tim turned things upside down and connected the control grid to the cathode, using the screen grid as the input. This turned out to give better linearity, higher power rating and much better reliability than alternatives, and the 859 went on to become a classic amplifier, winning plaudits throughout the world. Its sound, a blend of the classic valve virtues of clarity and openness with modern low noise and freedom from “mush”, clearly set it apart from the competition and it has had a longer production run than almost any other such model.

E.A.R. 869

However, there's nothing that can't be improved, and if anyone could improve the 859 it would of course have to be its original designer. Hence the 869: the basic output topology of the 859 with a slightly revised output transformer, plus a modified input stage with one extra small-signal valve. This has allowed a small but significant increase in output power to 15W per channel, and even better control of operating conditions irrespective of valve parameters (meaning better consistency as valves age or are replaced). In sound quality terms, this means, in essence, the same but better and more of it, for longer.

In addition, in response to customer requests, the input options have been extended so that the amplifier can be used as a power amp, bypassing the selector switch.

Specifications

E.A.R. 899

The 899 uses the same power amplifier topology as the E.A.R. 890, but adds a six-input passive preamplifier. It is still possible to use the E.A.R. 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.

E.A.R. 899

The circuitry uses two pairs of KT90 valves per channel, giving the 899 bullet-proof reliability. Its construction is to the highest standards.

With this integrated amplifier, Tim de Paravicini has brought the sonic virtues of the E.A.R. 834 to a more power-hungry audience, who can now enjoy classic E.A.R clarity, control and frequency extension with the added bonus of a long upgrade path ahead.

Specifications

E.A.R. V12

New for 2011, the E.A.R. V12 integrated amplifier is a radically different design. A totally “clean sheet of paper” design, if you will. There are six indirectly heated EL84 output tubes per channel in a superbly linear and low-distortion Class ‘A’ circuit. The V12 features Tim de Paravicini’s Balanced Bridge Mode, a custom ultra-wide bandwidth output transformer, and no overall feedback.

E.A.R. V12

The 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 output tubes.

The V12’s other unique feature is its casework. Tim de Paravicini wanted a more natural, harmonious look for his new amplifier, something less aggressive than traditional designs, with their industrial-looking transformers, sharp angles, and tubes sticking up in the air. The fascia is rounded, in a half-moon shape, with the left- and right-channel tubes positioned on opposing sides of the top of the amplifier. The V12’s finish is exemplary, with wood-capped tube cages, chrome fascia, and gold-plated control knobs.

Specifications

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