912 Preamplifier and Phono Preamp By EAR

Note: Due to demand and production limits, EAR components have about a 60-day order lead time. The 912 is a true heirloom piece.

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 or 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.

The EAR 912 is a culmination of Tim de Paravicini’s work with professional studios. Specifically designed for playback in studios, inheriting the product a rich feature set in addition to its high-grade sound. Despite these advanced capabilities, it still has style and grace to make it feel at home anywhere. Subtle professional influences such as the UV meters and solid aluminum handles reinforce that this is not just another preamp.

Matching its state-of-the-art performance the 912 features a silver or black brushed anodized aluminum front fascia and knobs that are beautiful yet durable. The dual analog VU meters on the 912 make for great viewing. Built to specified ballistic standards, the meters are fully music studio capable. With the ability to view the sound passing through, you can compensate for the variability of sources, enabling you to dial down the gain. Great for over-compressed sounds without losing its dynamic range. The Phonostage’s gain can be calibrated to the tune of -6 and -12dB before being directly passed to our audio transformers.

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

https://www.stereophile.com/tubepreamps/1205ear/index.htm

“the truth about the EAR 912 could be had by letting it play simpler music—and by hearing how it helped to pull levels of meaning, of emotional and intellectual engagement, out of what would otherwise be just electromechanical noise.”

“This product taught me something about my records and the other components in my system, and I enjoyed every minute I spent with it. The EAR 912 isn’t cheap, but it’s a Class A preamplifier in every sense, and an heirloom-quality instrument that represents the apex of both build quality and design ingenuity. I miss it already—and I strongly recommend that you try to experience it for yourself.”

http://www.troelsgravesen.dk/EAR-912.htm

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.