EAR Yoshino 8L6 Audiophile Integrated Tube Amplifier
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The E.A.R. Yoshino 8L6 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.
The 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.
The 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.
In 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.
An 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.
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.