EAR Yoshino 834 Audiophile Integrated Tube Amplifier
The E.A.R. Yoshino 834 is a Push-pull stereo integrated amplifier with 50 Watts per channel into 4, 8, or 16 Ohms. Using 6L6, EL34, or KT66 output tubes, it is Self-biasing with Six line inputs and one tape output.
Features
- Parallel push-pull pure class A circuit stereo valve power amplifier with control unit built in
- 6 RCA line inputs
- 1 tape output
- 1 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
- Made in England
Specifications
- Vacuum Tube Selection- 6L6, EL34, or KT66
- Power Output- 50 watts/channel (30 Hz - 15 kHz at 1% THD)
- Power Consumption- 200 watts total
- Inter-modulation Distortion- Less than 1% at any level from 10mW to 50 Watts
- Output Damping Factor- 12
- Power Bandwidth- 15Hz- 40 kHz at less than 3% THD
- Input Sensitivity- 200mV
- Signal to Noise Ratio- 85dB
- Input Impedance- 47k Ohms
- Inputs/Outputs- 6 pair RCA inputs, 1 tape output, 1 pair loudspeaker terminals
- Size- Width 16'' (405mm), Depth 16'' (405mm), Height 6'' (150mm)
- Weight- 20kg
About EAR
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.