{"title":"EAR Yoshino | Authorised Dealer INDIA | The Audio Co","description":"Shop premium EAR Yoshino audio products in India with Free Shipping, Official Warranty, Customer Support and GST Billing. Explore our complete range of EAR Yoshino audio equipment.","products":[{"product_id":"ear-yoshino-834-audiophile-integrated-tube-amplifier","title":"EAR Yoshino 834 Audiophile Integrated Tube Amplifier","description":"\n\u003ch2\u003e\n \u003cspan\u003eThe 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.\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eParallel push-pull pure class A circuit stereo valve power amplifier with control unit built in  \u003c\/li\u003e\n\u003cli\u003e6 RCA line inputs\u003c\/li\u003e\n\u003cli\u003e1 tape output\u003c\/li\u003e\n\u003cli\u003e1 pair of speaker output terminals\u003c\/li\u003e\n\u003cli\u003e50 watts per channel power output into 4, 8 or 16 ohm   \u003c\/li\u003e\n\u003cli\u003ePush-pull operation from input to output  \u003c\/li\u003e\n\u003cli\u003eLow overall feedback design  \u003c\/li\u003e\n\u003cli\u003eSelf biasing\u003c\/li\u003e\n\u003cli\u003eMade in England\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSpecifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eVacuum Tube Selection- 6L6, EL34, or KT66\u003c\/li\u003e\n\u003cli\u003ePower Output- 50 watts\/channel (30 Hz - 15 kHz at 1% THD)\u003c\/li\u003e\n\u003cli\u003ePower Consumption- 200 watts total\u003c\/li\u003e\n\u003cli\u003eInter-modulation Distortion- Less than 1% at any level from 10mW to 50 Watts\u003c\/li\u003e\n\u003cli\u003eOutput Damping Factor- 12\u003c\/li\u003e\n\u003cli\u003ePower Bandwidth- 15Hz- 40 kHz at less than 3% THD\u003c\/li\u003e\n\u003cli\u003eInput Sensitivity- 200mV\u003c\/li\u003e\n\u003cli\u003eSignal to Noise Ratio- 85dB\u003c\/li\u003e\n\u003cli\u003eInput Impedance- 47k Ohms\u003c\/li\u003e\n\u003cli\u003eInputs\/Outputs- 6 pair RCA inputs, 1 tape output, 1 pair loudspeaker terminals\u003c\/li\u003e\n\u003cli\u003eSize- Width 16'' (405mm), Depth 16'' (405mm), Height 6'' (150mm)\u003c\/li\u003e\n\u003cli\u003eWeight- 20kg\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAbout EAR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sc-text w3_bg\"\u003e\n\u003cp\u003eEAR (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.\u003c\/p\u003e\n\u003cp\u003eTim 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.\u003c\/p\u003e\n\u003cp\u003eEAR 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.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"EAR Yoshino","offers":[{"title":"Default Title","offer_id":40797015933011,"sku":"","price":857990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/ear-yoshino-834-audiophile-integrated-tube-amplifier-the-audio-236.webp?v=1717779439"},{"product_id":"ear-yoshino-8l6-audiophile-integrated-tube-amplifier","title":"EAR Yoshino 8L6 Audiophile Integrated Tube Amplifier","description":"\n\u003ch2\u003e\n \u003cspan\u003eThe E.A.R. Yoshino \u003c\/span\u003e8L6 has been designed to meet a wide variety of needs, from the most demanding of audiophiles to the professional seeking high quality monitoring equipment in the studio field. The circuit design uses push-pull output and driver stages, a high quality in-house-designed output transformer and low negative feedback. Tube life is long (and replacement costs modest) and the circuit operates in pure Class A.\u003c\/h2\u003e\n\u003cp\u003eThe 8L6 circuit design uses push-pull output and driver stages, a high quality in-house-designed output transformer and low negative feedback. Tube life is long (and replacement costs modest) and the circuit operates in pure Class A. The 8L6 is identical to the 834 with the useful exception described below. \u003c\/p\u003e\n\u003cp\u003eThe 8L6 can be used as an integrated amplifier or as separate preamplifier and power amplifier. This is selected with the switch at the rear of the unit marked “Pre\/Power Split On”. In integrated amplifier mode the front panel source selector works in the usual way to select any of the six inputs available on the rear. No connection is required between the “Pre Out” sockets and the “Power Amp In” sockets.\u003cbr\u003e\u003cbr\u003eIn pre-main mode the passive preamplifier section is disconnected internally from the power amplifier section, requiring an external connection between the “Pre Out” sockets and the “Power Amp In” sockets. This facility is provided to allow the user the option of connecting a signal processor such as an equalizer between the pre and power sections.\u003c\/p\u003e\n\u003cp\u003eAn additional benefit is that the “Pre Out” sockets remain active when the 8L6 is in integrated mode, so that a second 8L6 (or other amplifier of similar gain) can be used 'slaved' to the main one for bi-amping.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eParallel push-pull pure class A circuit stereo valve power amplifier with control unit built in  \u003c\/li\u003e\n\u003cli\u003e6 RCA line inputs\u003c\/li\u003e\n\u003cli\u003e1 tape output\u003c\/li\u003e\n\u003cli\u003e1 pair of speaker output terminals\u003c\/li\u003e\n\u003cli\u003e50 watts per channel power output into 4, 8 or 16 ohm   \u003c\/li\u003e\n\u003cli\u003ePush-pull operation from input to output  \u003c\/li\u003e\n\u003cli\u003eLow overall feedback design  \u003c\/li\u003e\n\u003cli\u003eSelf biasing\u003c\/li\u003e\n\u003cli\u003eMade in England\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSpecifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eVacuum Tube Selection- 6L6, EL34, or KT66\u003c\/li\u003e\n\u003cli\u003ePower Output- 50 watts\/channel (30 Hz - 15 kHz at 1% THD)\u003c\/li\u003e\n\u003cli\u003ePower Consumption- 200 watts total\u003c\/li\u003e\n\u003cli\u003eInter-modulation Distortion- Less than 1% at any level from 10mW to 50 Watts\u003c\/li\u003e\n\u003cli\u003eOutput Damping Factor- 12\u003c\/li\u003e\n\u003cli\u003ePower Bandwidth- 15Hz- 40 kHz at less than 3% THD\u003c\/li\u003e\n\u003cli\u003eInput Sensitivity- 200mV\u003c\/li\u003e\n\u003cli\u003eSignal to Noise Ratio- 85dB\u003c\/li\u003e\n\u003cli\u003eInput Impedance- 47k Ohms\u003c\/li\u003e\n\u003cli\u003eInputs\/Outputs- 6 pair RCA inputs, 1 tape output, 1 pair loudspeaker terminals\u003c\/li\u003e\n\u003cli\u003eSize- Width 16'' (405mm), Depth 16'' (405mm), Height 6'' (150mm)\u003c\/li\u003e\n\u003cli\u003eWeight- 20kg\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAbout EAR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sc-text w3_bg\"\u003e\n\u003cp\u003eEAR (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.\u003c\/p\u003e\n\u003cp\u003eTim 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.\u003c\/p\u003e\n\u003cp\u003eEAR 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.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"EAR Yoshino","offers":[{"title":"Default Title","offer_id":40797055549523,"sku":"","price":935990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/ear-yoshino-8l6-audiophile-integrated-tube-amplifier-the-audio-335.webp?v=1717779460"},{"product_id":"ear-yoshino-869-audiophile-integrated-tube-amplifier","title":"EAR Yoshino 869 Audiophile Integrated Tube Amplifier","description":"\n\u003ch2\u003e\n \u003cspan\u003eThe E.A.R. Yoshino \u003c\/span\u003e869 is an e\u003cspan\u003enhanced 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.\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003eBuilding 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?\u003cbr\u003e\u003cbr\u003eBecause 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.”\u003cbr\u003e\u003cbr\u003eAccordingly 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.\u003c\/p\u003e\n\u003cp\u003eHowever, 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.\u003cbr\u003e\u003cbr\u003eIn 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.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e15 Watts\/Channel\u003c\/li\u003e\n\u003cli\u003eTwo EL309 Valves\u003c\/li\u003e\n\u003cli\u003eTwo PCC88 Valves\u003c\/li\u003e\n\u003cli\u003eTwo ECC85 Valves\u003c\/li\u003e\n\u003cli\u003eFive Analogue inputs (RCA)\u003c\/li\u003e\n\u003cli\u003eChrome Facia with gold or chrome knobs\u003c\/li\u003e\n\u003cli\u003eMade in England\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSpecifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePower output 15 watts\/channel (30Hz - 15kHz at 1% THD into rated load)\u003c\/li\u003e\n\u003cli\u003ePower Bandwidth 15Hz - 40kHz at less than 3% THD\u003c\/li\u003e\n\u003cli\u003eI.M.D. Less than 1% at any level from 10mW to 50 Watts\u003c\/li\u003e\n\u003cli\u003eOutput Damping Factor 10\u003c\/li\u003e\n\u003cli\u003eSignal to Noise Ratio 85dB\u003c\/li\u003e\n\u003cli\u003eInput Sensitivity 200mV\u003c\/li\u003e\n\u003cli\u003eInput Impedance 47k Ohms\u003c\/li\u003e\n\u003cli\u003ePower Consumption 200 watts total\u003c\/li\u003e\n\u003cli\u003eWeight 22kg\u003c\/li\u003e\n\u003cli\u003eSize (B x D x H) W 390 mm D 405mm, H 175mm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAbout EAR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sc-text w3_bg\"\u003e\n\u003cp\u003eEAR (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.\u003c\/p\u003e\n\u003cp\u003eTim 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.\u003c\/p\u003e\n\u003cp\u003eEAR 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.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"EAR Yoshino","offers":[{"title":"Default Title","offer_id":40798197252179,"sku":"","price":935990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/ear-yoshino-869-audiophile-integrated-tube-amplifier-the-audio-853.webp?v=1717779468"},{"product_id":"ear-yoshino-v12-audiophile-integrated-tube-amplifier","title":"EAR Yoshino V12 Audiophile Integrated Tube Amplifier","description":"\n\u003ch2\u003e\nReferenced from Tim de Paravicini’s admiration of Jaguar’s powerplant, the EAR V12 extracts much of the same philosophy. The design utilises six EL84s on each bank for a total of twelve, the sum of which is high performance with balance and grace.\u003c\/h2\u003e\n\u003cp\u003eThe geometry isn’t just engine mimicry but allows for an organised and compact layout with central weight distribution. This creates a design that has powerful lines and compelling proportions. Despite its bold use of chrome and adventurous styling, the EAR V12 sits proud but is not obtrusive in any environment.\u003c\/p\u003e\n\u003cp\u003eThe V12 utilises EAR Yoshino’s rich tradition of workmanship, blending high calibre engineering with craft. Beautiful hand selected and polished wooden end caps on the ‘half moon’ valve covers add a simple but distinctive touch to the design making each EAR V12 unique. Chrome transformer covers suggesting a sleek aerodynamic power block, with sufficient power in reserve for the most demanding audio terrain.\u003c\/p\u003e\n\u003cp\u003eBreathtaking from every angle, the EAR V12 is built with a level of quality associated with solid construction that gives the impression that you are using something truly special.\u003c\/p\u003e\n\u003cp\u003eTim de Paravicini’s vision was beyond just a collection of EL84s but to create an amplifier of unparalleled power and clarity. Utilizing Tim’s own ‘balanced bridge mode circuit’ that takes the primary windings of the output transformer and splits them equally between the Anode and Cathode circuits of the tubes so they’re capacitively cross-coupled enabling increased bandwidth.\u003c\/p\u003e\n\u003cp\u003eAided with the use of a Pentode Mode parallel push-pull class “A” circuit, the valve amplifier produces soft second harmonic distortion in low quantities with superb linearity.\u003c\/p\u003e\n\u003cp\u003eThe transformers are bespoke designs, that are hand-wound in Cambridgshire, England. The output transformers are designed and built for ultra-wide bandwidth. Providing extended frequency response at both ends of the spectrum.\u003c\/p\u003e\n\u003cp\u003eEach bank of six EL84’s provids fifty watts of pure high quality audio and improved low-level detail. With perfect loudspeaker coupling, the V12 is equipped with the smooth muscular power of its automotive namesake. As a consequence of Tim de Paravicini’s attention to detail in the design process, he ensured that this power is conservatively within the capability of the V12.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eFeatures\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e50 Watts\/Channel\u003c\/li\u003e\n\u003cli\u003e\n\n\u003cspan\u003eTwelve EL84 (6BQ5)\u003c\/span\u003e Valves\u003c\/li\u003e\n\u003cli\u003e\n\n\u003cspan\u003eTen ECC83 (12AX7)\u003c\/span\u003e Valves\u003c\/li\u003e\n\u003cli\u003eFive Analogue inputs (RCA)\u003c\/li\u003e\n\u003cli\u003eChrome Facia with gold or chrome knobs\u003c\/li\u003e\n\u003cli\u003eMade in England\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSpecifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eValves\u003c\/strong\u003e Twelve EL84 (6BQ5)Ten ECC83 (12AX7)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFrequency Response\u003c\/strong\u003e 12-60Khz -3dB\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignal-to-noise Ratio\u003c\/strong\u003e 93dB\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput Sensitvity\u003c\/strong\u003e 0.4V\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput Impedance\u003c\/strong\u003e 47kΩ\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOutput Damping Factor\u003c\/strong\u003e 10\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInputs\u003c\/strong\u003e Five Line Inputs (RCA)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOutputs\u003c\/strong\u003e One Tape Output (RCA)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePower Output\u003c\/strong\u003e (20-20KHz): 50W into 4 \u0026amp; 8Ω (8 \u0026amp; 16Ω optional)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTotal Harmonic Distortion\u003c\/strong\u003e \u0026lt;0.03%\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeight\u003c\/strong\u003e 22kg (48lb)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLength\u003c\/strong\u003e 420 mm (16.5”)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWidth\u003c\/strong\u003e 440 mm (17.3”)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHeight\u003c\/strong\u003e 135mm (5.3”)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePower Consumption\u003c\/strong\u003e 200 watts 240 volt\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAbout EAR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sc-text w3_bg\"\u003e\n\u003cp\u003eEAR (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.\u003c\/p\u003e\n\u003cp\u003eTim 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.\u003c\/p\u003e\n\u003cp\u003eEAR 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.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"EAR Yoshino","offers":[{"title":"Default Title","offer_id":40799389581395,"sku":"","price":1403990.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1867\/3055\/files\/ear-yoshino-v12-audiophile-integrated-tube-amplifier-the-audio-239.webp?v=1717779481"}],"url":"https:\/\/theaudio.co\/collections\/ear-yoshino.oembed","provider":"The Audio Co.","version":"1.0","type":"link"}