EAR 834P phono preamplifier
Go
to original
review at www.stereotimes.com
One
of the major pitfalls of journalism is that
because of its pre-occupation with the news
of the day, it tends to lose perspective and
context. Mainstream audio journalism is prey
to the same foible, with Component of the Month
Syndrome highly dominant. Probably the most
glaring example is Stereophile's List of Recommended
Components, where an older piece on the list
is bumped simply because of the time elapsed
since it was reviewed.
Tim
de Paravicini's designs have the reputation
of withstanding the tests of time. While the
EAR 834P has been available for a few years
now, it bears listening to with News of the
Day freshness and currency. It's one of those
"Yes!" products - where you know immediately
that something right and good is happening.
The
834P is a classic rectangular black box roughly
the size of a carton of English International
size cigarettes, featuring only an on/off switch
on its stately front panel. The back includes
two sets of RCA jacks along with a push-button
to select either moving magnet or moving coil
and a detachable AC cord. The EAR rests on 4
soft feet. A tube design utilizing 12AX7 tubes,
the EAR uses transformers for the additional
gain necessary to preamplify moving coil cartridges.
A "Signature" version is available
that will cosmetically match EAR's preamplifiers
and amplifiers; the circuitry of the 834P is
also available within a full-featured preamp,
the 864.
Although
I own 2 sets of tube electronics (3 pieces of
which are vintage items) in addition to my various
solid state components, I don't attribute musical
excellence purely to a type of amplifying device:
it's what you do with tubes or transistors that
matters. I've experienced intense musical pleasure
from both tubes and solid state, so have no
particular axe to grind. In particular, I don't
find the old stereotypes - soft and mellow tubes
versus harsh and bright solid state - to be
dogmatically applicable to any well-designed
component. Excellent tube designs do, however,
tend to produce very believable timbres with
acoustic instruments and excel in painting tonal
colors, particularly important in classical
music where a live reference is available for
comparison.
The
Garrott Brothers Optim FGS moving magnet cartridge
has become my reference for affordable musical
communication. Since Garrott uses tube phono
amplification in their listening/development
tests, I first ran the EAR 834P in an all-tube
system. The musical results of this set-up were
truly engrossing and riveting: dynamics, drive,
rhythm and musical phrasing/accents were simply
exemplary. The EAR was exceptional in getting
the heart of music right. I immediately stopped
listening to my staple reference critical-listening
LPs, and began randomly listening to various
LPs purely for the musical pleasure: the entire
Procol Harum catalogue, then The Band's, then
the Buffalo Springfield/Neil Young/Steve Stills
nexus, the Doors, and finishing with Jim Hendrix.
The EAR proved superb at recreating the drive,
emotional intensity, and the literally electrical
intensity of this music. Jimi Hendrix understood
perhaps more clearly than anyone that music
is a physical power and the EAR superbly reproduced
that tangible electric cosmic power that Hendrix
so intensely unleashed.
A
listening journey through 50's/60's small combo
jazz proved equally compelling: noteworthy was
the EAR's ability to fully articulate the bass
parts of these recordings, many of which (on
later re-issues anyway) seem to present the
bass player as a weird sort of background phantom.
Not only was the bass present as a full participating
member of the music, but bass sonorities were
rich and full-bodied, with taut and excellent
transient control and drive. I was moved deeply
by the musical expressiveness of solo instruments
- horns and piano - the emotion behind the notes
being clearly revealed. Be it the 'dry martini'
sonority of Paul Desmond, the studied cool of
Miles Davis, the gentle 'rain on the windows'
of Bill Evans' piano or the cosmic destroyer
aspects of Pharoah Sanders/John Coltrane in
their more exorcistic moments, I was getting
the heart and emotion of the music.
Tim
de Paravicini is perhaps best known for the
tube electronics he designed for Chesky's re-issues
of the classic RCA Shaded Dog LPs and listening
to a batch of these proved an exercise in natural
timbres and a total immersion into the music.
Smaller scale music, particularly string quartets,
was presented with the same intimacy and communication
that was so engrossing with jazz. The pure unalloyed
joy of Mozart's early Divertimenti was reproduced
with breathtaking exuberance, the EAR easily
passing one of my prime requisites for any component.
Results
with my other MusicMaster moving magnet cartridge,
the Rega Exact, were similarly compelling and
musical enriching and I was having one of those
pleasant reviewing experiences where you know
immediately that the component is excellent:
the question then becomes just how excellent
it ultimately is.
I
did not play around with varying AC cords, or
indulge in tube tweaking, but of necessity with
an outboard phono stage, choosing an interconnect
was required. I didn't find this an anguish-inducing
experience - the Clearaudio Sixstream, van den
Hul The First, and Origin Live Reference all
proved deeply satisfying - leading me to believe
that the EAR is not particularly fussy and high-strung
about interconnect choice. I auditioned the
EAR without isolation devices at first and the
following comments all refer to the 834P played
'neat.'
Sonically
the EAR was without electronic edge or glare,
with a non-analytic cast to the proceedings.
It tended to focus on the entirety of the music
rather than breaking each recording down to
its component parts. I find this ability more
musically satisfying than components that neglect
the forest for the trees. Transient control
was very good, with good tracking of the decay
of notes. Soundstaging and stereoscopy were
believable and non-intrusive, though short of
hallucinogenic intensity. Ultimate detail and
transparency is short of the very best, but
considering the EAR's price and its other sterling
musical virtues, acceptable. I never found myself
squinting with my ears or baffled by any aspect
of the musical proceedings. I found noise to
be a non-issue also.
Listening
to the EAR in my solid-state system was slightly
less intense, as parts of its abilities were
lost in the transition to transistor amplification.
This is normal for tube electronics: their full
flowering normally requires all-tube systems
to hear to the fullest. Context plays a role
too. Though I was unable to audition the 834
in the context of a full EAR system, I'm deeply
aware that most of front-rank designer's products
(and Tim di Paravicini is certainly one) need
to be heard within their complete systems to
produce the designer's full intent.
The
moving coil section of the EAR uses transformers
to produce the additional gain necessary for
their lower output and Tim de Paravicini has
a reputation as a master of moving coil transformer
design. Running the Audio Technica AT OC9ML,
Garrott re-tipped Blue Point Special, and Talisman
Boron revealed less stirring performance, due
to the fact that these 4 cartridges are not
as successful music makers as the 2 moving magnets
I used. My Goldring Eroica LX, also re-tipped
by Garrott, however, flowered with the EAR,
as did the Ortofon Jubilee. The EAR faithfully
revealed the sonic signature of these cartridges,
and revealed as much of its own considerable
abilities in the process, without forcing its
personality on them. My suspicion, which I was
not able to verify to any degree of certainty,
was that moving magnet performance of the 834P
was perhaps stronger than that of moving coil.
This was due to the overwhelmingly stunning
dynamic performance of the moving magnet Garrott
Optim FGS, a cartridge whose dynamic and musical
coherency is unmatched by any moving coil cartridge
I've heard, except for Garrott's $6000 P89.
Those who run moving magnets exclusively, a
minority among audiophiles who seem generally
wed to the moving coil, can opt for the moving
magnet-only 834P.
The
EAR clearly revealed the differences in tonearms
and turntables. The more traditionally 'audiophile'
Clearaudio Champion Level 2/ Clearaudio Unify
Unipivot arm/ Sigma Wood moving coil cartridge
front end was stunning in neutrality, resolution,
and 3-D stereo effects. Also highly evident,
though, was this set-up's intellect-oriented
presentation. My Linn LP12s, Origin Live Standard
Kit, AR/Merrill and antique Connoisseur BD2a
turntables were more in keeping with the EAR's
rhythmic and dynamic aplomb, musical lines flowing
with the kind of ease and believability that
one more normally associates with live musical
expression.
In
standard trim and set-up, the EAR 834P rates
high musical marks indeed. The use of effective
isolation proved transmogrifying - dispelling
any quibbles about lack of hallucinogenic imaging
and completely nullifying my suspicion that
moving magnet performance was superior to the
EAR's transformer derived MC amplification.
My experience with the state-of-the-art in isolation
products over the years has led me to the conclusion
that a component played 'neat' shows only a
fraction of its true capacities compared to
what it can produce when removed from the contaminating
effects of spurious vibration. The small size
of the EAR precluded optimum usage with some
of the devices I had available. The new Stillpoints,
(at $279 for a set of 3, a joint effort from
Paul Wakeen, ex-Aurios and Larry Jacoby and
Deb Folz, both ex-Wadia) vaulted the already
excellent performance of the 834P into an altogether
different realm. Stunning and mind-blowing are
probably the mildest of adjectives to be used
in describing the 834P when placed on the Stillpoints:
the sonic improvements in image placement and
soundstage transparency, the superior resolution
of low level information, the extension of bandwidth
and flow of dynamic gradations were matched
by an equally exalted improvement in the already
heady and deeply moving communicative powers
of the 834P. Lyric intelligibility, as just
one example, went from the very good to one
of the very best when the EAR was placed on
the Stillpoints. The EAR's performance with
moving coil was improved to the point where
my mild suspicions as to its ultimate capacities
were vanquished.
The
highest of recommendations for the EAR 834P
then, especially when mounted on the Stillpoints.
Old news is good news indeed.
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