834L Deluxe Preamplifier By EAR

Note: Delivery of EAR gear has been taking 60-90 days due to COVID supply chain disruptions. Give us a quick call to get started on an order with a small deposit.

Jaguar is pleased to offer EAR electronics, some of the most musical tube gear in existence. When it comes to high-end tube amplifiers, there are hundreds of brands on the market, many costing much more than EAR. However, at Jaguar we’re only interested in amps like EAR and Lamm, which are created by visionary designers and stand above the others as truly unique and special. Numerous available models allow you to select one that’s the best match for your system and the sound character you’re going for.

You can put the EAR 834L preamp against any current contender under $2500 and, just like the 834P phono stage, you will come away totally impressed and awed. If you just want a truly realistic sound that is always a pleasure, this is the preamp you’re looking for.

The EAR 834L Line Stage Preamplifier is a terrific complement to most any system as well as the wonderful EAR 834P phono stage and EAR power amplifiers. Add modest $25 upgraded tubes and the EAR 834L Line Stage Preamplifier will shock you with its top-flight performance rivaling most preamps in the $4,000 plus range.

Designed by Tim de Paravicini in his usual robust style, the EAR 834L Line Stage Preamplifier is the perfect match for any high-end system whether biased towards analog or digital. The electronic architecture is minimalist so that the absolute minimum sonic degradation takes place. There are three double triode tubes 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 circuit is designed in such a way as to have an expected tube life of five years of continuous operation.

The EAR 834L Line Stage Preamplifier is available in Classic and Deluxe specification. Deluxe builds on the Classics specification with a superior chassis in chrome and gold finish with 2 sets of outputs to facilitate bi-amping systems and a neon power monitor light. It has facilities for up to five line inputs and genuine tape monitoring circuit, making a total of six inputs.

Line-level preamplifier. Five line inputs plus tape monitor circuit. Valves: 2 x ECC82 or 12AU7 or equivalent & 1 x ECC83 or 12AX7 or equivalent.

Continuousness; hop-to-it dynamics in the midbass; grainlessness; and a fine representation of image dimensionality. The soundstage and the vital middle frequencies…. These are the kind of audio toys you can (and will) fall in love with because they are just so got-rocks musical.”

— Harry Pearson Editor’s Choice, The Absolute Sound

EAR (formerly “Esoteric Audio Research”) is the brainchild of Tim de Paravicini, whose name has been associated since the 1970s with electronics of the highest fidelity. De Paravicini’s innovative techniques have not only borne fruit in products for EAR, but in designs for some of the world’s most highly regarded electronics manufacturers. Some of these designs have been continually prized—and sought—by discerning listeners for decades after their introduction.

Tim de Paravicini has also made unique contributions to the world of professional recording and mastering. Users of his tape recording systems, microphones, and other recording technology include performers Pink Floyd and Lenny Kravitz, the Altarus and Water Lily record labels, and renowned recording and mastering engineers like Robert Ludwig, Joe Gastwirt, and James Guthrie. One of the world’s highest-ranked mastering facilities, The Exchange in London, uses two playback systems in which the entire chain–from tape machines and equalizers to cutter amplifiers and monitoring equipment—is EAR-designed and built. Mobile Fidelity Sound Labs uses his LP cutting system, as well as a playback tape deck with his electronics.

EAR amplifiers are unequaled in their ability to deliver a pure rendition of the signal fed into them, free from the colorations and distortions of most amplifiers. Tim de Paravicini has been instrumental in investigating the role of ultrasonic resonances in amplifier circuits and their effect on transient response. He has also undertaken significant original research on the subjective effects of distortion. This research has not only facilitated the interpretation of amplifier measurements but has shed light on the correlation between measurements and sound quality. The results are easy to appreciate—EAR amplifiers are among the most accurate amplifiers ever made.