EAR Yoshino 869 Audiophile Integrated Tube Amplifier
The E.A.R. Yoshino 869 is an enhanced triode mode integrated amplifier. Building on the success of the EAR 859 with increase power output and better control of operating conditions irrespective of valve parameters and age.
Building on the success of the EAR 859 with increase power output and better control of operating conditions irrespective of valve parameters and age. When it was launched in the early 1990s, originally as a kit offered through Hi-Fi News magazine and subsequently as a regular EAR product, the EAR 859 integrated amplifier caused quite a stir. Why?
Because it was designed by Tim de Paravicini, the man who almost single-handedly started the so-called valve renaissance in England. After over a decade’s successful production of resolutely push-pull amplifiers (principally the noted 509, 519 and 549 models), the 859 was Tim’s reaction to the developing trend towards low-power single-ended triode amps, his statement that: ”Yes, of course I can do that, and I do something a bit different at the same time.”
Accordingly he completely bypassed the ‘conventional’ circuits, most of which use classic valves such as the 300B, 211 or 2A3, and based his design on his long-standing favourite output valve, the EL519. As conventionally connected that valve is a pentode, but Tim’s contribution was to invent a new 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.
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.
Features
- 15 Watts/Channel
- Two EL309 Valves
- Two PCC88 Valves
- Two ECC85 Valves
- Five Analogue inputs (RCA)
- Chrome Facia with gold or chrome knobs
- Made in England
Specifications
- Power output 15 watts/channel (30Hz - 15kHz at 1% THD into rated load)
- Power Bandwidth 15Hz - 40kHz at less than 3% THD
- I.M.D. Less than 1% at any level from 10mW to 50 Watts
- Output Damping Factor 10
- Signal to Noise Ratio 85dB
- Input Sensitivity 200mV
- Input Impedance 47k Ohms
- Power Consumption 200 watts total
- Weight 22kg
- Size (B x D x H) W 390 mm D 405mm, H 175mm
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.