Bespoke Teflon or precious metals in oil can’t be expected unless you are spending many times the price of an 834P. All the same, EAR might have been a bit more generous on their swing through the parts bin. In this instance, the problem with implementing a coupling capacitor upgrade is the compact dimensions of the circuit board. The EAR 868 is a fully balanced, transformer-coupled design, offering balanced and single-ended connections at input and output. It also offers a tape loop, remote control of volume, and several load/gain selections for the phono stage. Please see the extraordinary Reviews on the 912, on which the 868 is modeled.
The owners manual states a.23mv output at 1KHZ, but another part of the manual puts its output voltage at.16 mv. Anyways, the moving coil input stage of the EAR 834P is sufficient to get the job done, but just barely. The owners manual incorrectly identifies tubes or their locations or both, and manufacturer support was (is?)absymal. Look at one with the lid off, listen to it with the right tubes installed, check out all the functions to make sure they work, and make your own decision whether it will float your boat.
Moving magnet and moving coil tube phono preamplifier12 AX7 (ECC 83) tubes
MC amplification by transformer
Dimensions: 5' W × 4' H × 9' D
Price: $995 (Black).
Price: $1295 (Chrome).
Address:
US Distributor:
EAR USA
Dan Meinwald
Sound Advice
1087 E. Ridgewood Street
Long Beach, CA
90807 USA
Telephone: 001 562 422 4747
Fax: 001 562 6577
Email: info@ear-usa.com
Website:
www.ear-usa.com/index.html
and www.ear-yoshino.com/
One of the major pitfalls of journalism is that because of its pre-occupation with the news of the day, it tends to lose perspective and context. Mainstream audio journalism is prey to the same foible, with Component of the Month Syndrome highly dominant. Probably the most glaring example is Stereophile's List of Recommended Components, where an older piece on the list is bumped simply because of the time elapsed since it was reviewed.
Tim de Paravicini's designs have the reputation of withstanding the tests of time. While the EAR 834P has been available for a few years now, it bears listening to with News of the Day freshness and currency. It's one of those 'Yes!' products - where you know immediately that something right and good is happening.
The 834P is a classic rectangular black box roughly the size of a carton of English International size cigarettes, featuring only an on/off switch on its stately front panel. The back includes two sets of RCA jacks along with a push-button to select either moving magnet or moving coil and a detachable AC cord. The EAR rests on 4 soft feet. A tube design utilizing 12AX7 tubes, the EAR uses transformers for the additional gain necessary to preamplify moving coil cartridges. A 'Signature' version is available that will cosmetically match EAR's preamplifiers and amplifiers; the circuitry of the 834P is also available within a full-featured preamp, the 864.
Although I own 2 sets of tube electronics (3 pieces of which are vintage items) in addition to my various solid state components, I don't attribute musical excellence purely to a type of amplifying device: it's what you do with tubes or transistors that matters. I've experienced intense musical pleasure from both tubes and solid state, so have no particular axe to grind. In particular, I don't find the old stereotypes - soft and mellow tubes versus harsh and bright solid state - to be dogmatically applicable to any well-designed component. Excellent tube designs do, however, tend to produce very believable timbres with acoustic instruments and excel in painting tonal colors, particularly important in classical music where a live reference is available for comparison.
The Garrott Brothers Optim FGS moving magnet cartridge has become my reference for affordable musical communication. Since Garrott uses tube phono amplification in their listening/development tests, I first ran the EAR 834P in an all-tube system. The musical results of this set-up were truly engrossing and riveting: dynamics, drive, rhythm and musical phrasing/accents were simply exemplary. The EAR was exceptional in getting the heart of music right. I immediately stopped listening to my staple reference critical-listening LPs, and began randomly listening to various LPs purely for the musical pleasure: the entire Procol Harum catalogue, then The Band's, then the Buffalo Springfield/Neil Young/Steve Stills nexus, the Doors, and finishing with Jim Hendrix. The EAR proved superb at recreating the drive, emotional intensity, and the literally electrical intensity of this music. Jimi Hendrix understood perhaps more clearly than anyone that music is a physical power and the EAR superbly reproduced that tangible electric cosmic power that Hendrix so intensely unleashed.
A listening journey through 50's/60's small combo jazz proved equally compelling: noteworthy was the EAR's ability to fully articulate the bass parts of these recordings, many of which (on later re-issues anyway) seem to present the bass player as a weird sort of background phantom. Not only was the bass present as a full participating member of the music, but bass sonorities were rich and full-bodied, with taut and excellent transient control and drive. I was moved deeply by the musical expressiveness of solo instruments - horns and piano - the emotion behind the notes being clearly revealed. Be it the 'dry martini' sonority of Paul Desmond, the studied cool of Miles Davis, the gentle 'rain on the windows' of Bill Evans' piano or the cosmic destroyer aspects of Pharoah Sanders/John Coltrane in their more exorcistic moments, I was getting the heart and emotion of the music.
Tim de Paravicini is perhaps best known for the tube electronics he designed for Chesky's re-issues of the classic RCA Shaded Dog LPs and listening to a batch of these proved an exercise in natural timbres and a total immersion into the music. Smaller scale music, particularly string quartets, was presented with the same intimacy and communication that was so engrossing with jazz. The pure unalloyed joy of Mozart's early Divertimenti was reproduced with breathtaking exuberance, the EAR easily passing one of my prime requisites for any component.
Results with my other MusicMaster moving magnet cartridge, the Rega Exact, were similarly compelling and musical enriching and I was having one of those pleasant reviewing experiences where you know immediately that the component is excellent: the question then becomes just how excellent it ultimately is.
I did not play around with varying AC cords, or indulge in tube tweaking, but of necessity with an outboard phono stage, choosing an interconnect was required. I didn't find this an anguish-inducing experience - the Clearaudio Sixstream, van den Hul The First, and Origin Live Reference all proved deeply satisfying - leading me to believe that the EAR is not particularly fussy and high-strung about interconnect choice. I auditioned the EAR without isolation devices at first and the following comments all refer to the 834P played 'neat.'
Sonically the EAR was without electronic edge or glare, with a non-analytic cast to the proceedings. It tended to focus on the entirety of the music rather than breaking each recording down to its component parts. I find this ability more musically satisfying than components that neglect the forest for the trees. Transient control was very good, with good tracking of the decay of notes. Soundstaging and stereoscopy were believable and non-intrusive, though short of hallucinogenic intensity. Ultimate detail and transparency is short of the very best, but considering the EAR's price and its other sterling musical virtues, acceptable. I never found myself squinting with my ears or baffled by any aspect of the musical proceedings. I found noise to be a non-issue also.
Listening to the EAR in my solid-state system was slightly less intense, as parts of its abilities were lost in the transition to transistor amplification. This is normal for tube electronics: their full flowering normally requires all-tube systems to hear to the fullest. Context plays a role too. Though I was unable to audition the 834 in the context of a full EAR system, I'm deeply aware that most of front-rank designer's products (and Tim di Paravicini is certainly one) need to be heard within their complete systems to produce the designer's full intent.
The moving coil section of the EAR uses transformers to produce the additional gain necessary for their lower output and Tim de Paravicini has a reputation as a master of moving coil transformer design. Running the Audio Technica AT OC9ML, Garrott re-tipped Blue Point Special, and Talisman Boron revealed less stirring performance, due to the fact that these 4 cartridges are not as successful music makers as the 2 moving magnets I used. My Goldring Eroica LX, also re-tipped by Garrott, however, flowered with the EAR, as did the Ortofon Jubilee. The EAR faithfully revealed the sonic signature of these cartridges, and revealed as much of its own considerable abilities in the process, without forcing its personality on them. My suspicion, which I was not able to verify to any degree of certainty, was that moving magnet performance of the 834P was perhaps stronger than that of moving coil. This was due to the overwhelmingly stunning dynamic performance of the moving magnet Garrott Optim FGS, a cartridge whose dynamic and musical coherency is unmatched by any moving coil cartridge I've heard, except for Garrott's $6000 P89. Those who run moving magnets exclusively, a minority among audiophiles who seem generally wed to the moving coil, can opt for the moving magnet-only 834P, available by special order for $795.
The EAR clearly revealed the differences in tonearms and turntables. The more traditionally 'audiophile' Clearaudio Champion Level 2/ Clearaudio Unify Unipivot arm/ Sigma Wood moving coil cartridge front end was stunning in neutrality, resolution, and 3-D stereo effects. Also highly evident, though, was this set-up's intellect-oriented presentation. My Linn LP12s, Origin Live Standard Kit, AR/Merrill and antique Connoisseur BD2a turntables were more in keeping with the EAR's rhythmic and dynamic aplomb, musical lines flowing with the kind of ease and believability that one more normally associates with live musical expression.
In standard trim and set-up, the EAR 834P rates high musical marks indeed. The use of effective isolation proved transmogrifying - dispelling any quibbles about lack of hallucinogenic imaging and completely nullifying my suspicion that moving magnet performance was superior to the EAR's transformer derived MC amplification. My experience with the state-of-the-art in isolation products over the years has led me to the conclusion that a component played 'neat' shows only a fraction of its true capacities compared to what it can produce when removed from the contaminating effects of spurious vibration. The small size of the EAR precluded optimum usage with some of the devices I had available. The new Stillpoints, (at $279 for a set of 3, a joint effort from Paul Wakeen, ex-Aurios and Larry Jacoby and Deb Folz, both ex-Wadia) vaulted the already excellent performance of the 834P into an altogether different realm. Stunning and mind-blowing are probably the mildest of adjectives to be used in describing the 834P when placed on the Stillpoints: the sonic improvements in image placement and soundstage transparency, the superior resolution of low level information, the extension of bandwidth and flow of dynamic gradations were matched by an equally exalted improvement in the already heady and deeply moving communicative powers of the 834P. Lyric intelligibility, as just one example, went from the very good to one of the very best when the EAR was placed on the Stillpoints. The EAR's performance with moving coil was improved to the point where my mild suspicions as to its ultimate capacities were vanquished.
The highest of recommendations for the EAR 834P then, especially when mounted on the Stillpoints. Old news is good news indeed.“The saxophone is, unaided, a humorist. It looks like a sea horse and sounds like a canned fiddle.” (Music Critic writing in 1912 about an instrument that had only just begun to catch on.)
In the pages of the Stereo Times, several of my colleagues have written glowing reviews of Albert Von Schweikert’s wonderful loudspeaker products. Most recently, Alvester Garnett wrote a very insightful review of the new two-way VR-1. Due to some fortuitous circumstances, I too came across a pair of the VR-1s and decided to add my two cents about this little gem of a speaker.
Upon their arrival, I placed them into service in my small office space, which measures 8’ x ’12. The VR-1 employs several of Von Schweikert’s proprietary technologies, many of which are used in his more expensive designs. Like the critic who wrote about the sax, some may be skeptical of this newest Von Schweikert design, after all, what kind of alchemy allows him to get so much bass (down to 40Hz) out of such a small box (8” x 11” x 12”)? But as my listening sessions over these many months confirmed, these loudspeakers offer the listener many musical rewards, especially when proper room size and synergy with companion gear is realized.
The VR-1 is a dynamic two-way, using a pressure-release damping system (its small port is periodically tuned to frequencies below the driver resonance and thus provides no bass output, allowing for placement inside wall units or preferably, on sturdy stands close to back and side walls). The 165mm woofer is composed of newly devised composite cone materials (mica-impregnated acetate pulp with polymer resin damping) using a long-throw aluminum voice coil and a basket of cast polymer with venting for spider decompression and noise reduction. The 25mm tweeter is of semi-rigid composite construction utilizing textiles and synthetic damping compounds. Close attention has been paid to the cabinet design, as the VR-1 employs internal cross bracing, submarine-hull damping gaskets and proprietary stuffing designed to reduce cross talk and midrange colorations. Finally, the VR-1 employs a proprietary crossover utilizing a fourth-order acoustic filter design that claims to provide a high degree of accuracy and an improved three-dimensional image for such a diminutive speaker. The pair I had came in a ravishing cherry veneer.
I used the term “ravishing” to describe the cosmetics of my cherry veneered pair (workmanship was first rate, including attention to packaging and user-friendly manuals). This description crystallizes what I heard from the VR-1. I echo Alvester’s observations that the VR-1 offered a pleasurable full-bodied presentation, with lots of air and space surrounding musicians, in a surprisingly wide and accurate soundstage for such a small speaker. The real treat here is the upper bass and lower midrange regions, offering some of the most accurate depictions of acoustic space that I have encountered with speakers of this size. For example, listening to the St. Louis Symphony playing Aaron Copland’s 1938 one-act ballet, Billy The Kid, [EMI Classics 5736532], the “Gun Battle” begins with an explosive burst of bass, snare and low brass, punctuated by xylophone runs. It ends with a profound recession of this explosive color until nothing remains but sonic smoke. The VR1’s propelled me into this colorful scene, with bass that was quick, meaty and full, and without any bloat or smear. In my near field listening, I heard midbass and midrange notes struck and fade naturally into the soundstage in an accurate and truthful fashion. Alvester noted in his review some observation of bass “wooliness” on some cuts, but I only discerned such qualities when the VR-1 was still in its (very lengthy) required break in period. (Albert advises at least 300-400 hours of break-in time to realize the engineering target and I found this definitely to be the case with the VR-1.) This speaker reveled in high-energy, bass-driven, rock and roll, as well as electric and acoustic blues. Turn that dial up and head over to the “Gallow Pole,” from the Blue Rider Trio’s Preachin’ the Blues
and www.ear-yoshino.com/
One of the major pitfalls of journalism is that because of its pre-occupation with the news of the day, it tends to lose perspective and context. Mainstream audio journalism is prey to the same foible, with Component of the Month Syndrome highly dominant. Probably the most glaring example is Stereophile's List of Recommended Components, where an older piece on the list is bumped simply because of the time elapsed since it was reviewed.
Tim de Paravicini's designs have the reputation of withstanding the tests of time. While the EAR 834P has been available for a few years now, it bears listening to with News of the Day freshness and currency. It's one of those 'Yes!' products - where you know immediately that something right and good is happening.
The 834P is a classic rectangular black box roughly the size of a carton of English International size cigarettes, featuring only an on/off switch on its stately front panel. The back includes two sets of RCA jacks along with a push-button to select either moving magnet or moving coil and a detachable AC cord. The EAR rests on 4 soft feet. A tube design utilizing 12AX7 tubes, the EAR uses transformers for the additional gain necessary to preamplify moving coil cartridges. A 'Signature' version is available that will cosmetically match EAR's preamplifiers and amplifiers; the circuitry of the 834P is also available within a full-featured preamp, the 864.
Although I own 2 sets of tube electronics (3 pieces of which are vintage items) in addition to my various solid state components, I don't attribute musical excellence purely to a type of amplifying device: it's what you do with tubes or transistors that matters. I've experienced intense musical pleasure from both tubes and solid state, so have no particular axe to grind. In particular, I don't find the old stereotypes - soft and mellow tubes versus harsh and bright solid state - to be dogmatically applicable to any well-designed component. Excellent tube designs do, however, tend to produce very believable timbres with acoustic instruments and excel in painting tonal colors, particularly important in classical music where a live reference is available for comparison.
Ear 834p Manual
The Garrott Brothers Optim FGS moving magnet cartridge has become my reference for affordable musical communication. Since Garrott uses tube phono amplification in their listening/development tests, I first ran the EAR 834P in an all-tube system. The musical results of this set-up were truly engrossing and riveting: dynamics, drive, rhythm and musical phrasing/accents were simply exemplary. The EAR was exceptional in getting the heart of music right. I immediately stopped listening to my staple reference critical-listening LPs, and began randomly listening to various LPs purely for the musical pleasure: the entire Procol Harum catalogue, then The Band's, then the Buffalo Springfield/Neil Young/Steve Stills nexus, the Doors, and finishing with Jim Hendrix. The EAR proved superb at recreating the drive, emotional intensity, and the literally electrical intensity of this music. Jimi Hendrix understood perhaps more clearly than anyone that music is a physical power and the EAR superbly reproduced that tangible electric cosmic power that Hendrix so intensely unleashed.
A listening journey through 50's/60's small combo jazz proved equally compelling: noteworthy was the EAR's ability to fully articulate the bass parts of these recordings, many of which (on later re-issues anyway) seem to present the bass player as a weird sort of background phantom. Not only was the bass present as a full participating member of the music, but bass sonorities were rich and full-bodied, with taut and excellent transient control and drive. I was moved deeply by the musical expressiveness of solo instruments - horns and piano - the emotion behind the notes being clearly revealed. Be it the 'dry martini' sonority of Paul Desmond, the studied cool of Miles Davis, the gentle 'rain on the windows' of Bill Evans' piano or the cosmic destroyer aspects of Pharoah Sanders/John Coltrane in their more exorcistic moments, I was getting the heart and emotion of the music.
Tim de Paravicini is perhaps best known for the tube electronics he designed for Chesky's re-issues of the classic RCA Shaded Dog LPs and listening to a batch of these proved an exercise in natural timbres and a total immersion into the music. Smaller scale music, particularly string quartets, was presented with the same intimacy and communication that was so engrossing with jazz. The pure unalloyed joy of Mozart's early Divertimenti was reproduced with breathtaking exuberance, the EAR easily passing one of my prime requisites for any component.
Results with my other MusicMaster moving magnet cartridge, the Rega Exact, were similarly compelling and musical enriching and I was having one of those pleasant reviewing experiences where you know immediately that the component is excellent: the question then becomes just how excellent it ultimately is.
I did not play around with varying AC cords, or indulge in tube tweaking, but of necessity with an outboard phono stage, choosing an interconnect was required. I didn't find this an anguish-inducing experience - the Clearaudio Sixstream, van den Hul The First, and Origin Live Reference all proved deeply satisfying - leading me to believe that the EAR is not particularly fussy and high-strung about interconnect choice. I auditioned the EAR without isolation devices at first and the following comments all refer to the 834P played 'neat.'
Sonically the EAR was without electronic edge or glare, with a non-analytic cast to the proceedings. It tended to focus on the entirety of the music rather than breaking each recording down to its component parts. I find this ability more musically satisfying than components that neglect the forest for the trees. Transient control was very good, with good tracking of the decay of notes. Soundstaging and stereoscopy were believable and non-intrusive, though short of hallucinogenic intensity. Ultimate detail and transparency is short of the very best, but considering the EAR's price and its other sterling musical virtues, acceptable. I never found myself squinting with my ears or baffled by any aspect of the musical proceedings. I found noise to be a non-issue also.
Listening to the EAR in my solid-state system was slightly less intense, as parts of its abilities were lost in the transition to transistor amplification. This is normal for tube electronics: their full flowering normally requires all-tube systems to hear to the fullest. Context plays a role too. Though I was unable to audition the 834 in the context of a full EAR system, I'm deeply aware that most of front-rank designer's products (and Tim di Paravicini is certainly one) need to be heard within their complete systems to produce the designer's full intent.
The moving coil section of the EAR uses transformers to produce the additional gain necessary for their lower output and Tim de Paravicini has a reputation as a master of moving coil transformer design. Running the Audio Technica AT OC9ML, Garrott re-tipped Blue Point Special, and Talisman Boron revealed less stirring performance, due to the fact that these 4 cartridges are not as successful music makers as the 2 moving magnets I used. My Goldring Eroica LX, also re-tipped by Garrott, however, flowered with the EAR, as did the Ortofon Jubilee. The EAR faithfully revealed the sonic signature of these cartridges, and revealed as much of its own considerable abilities in the process, without forcing its personality on them. My suspicion, which I was not able to verify to any degree of certainty, was that moving magnet performance of the 834P was perhaps stronger than that of moving coil. This was due to the overwhelmingly stunning dynamic performance of the moving magnet Garrott Optim FGS, a cartridge whose dynamic and musical coherency is unmatched by any moving coil cartridge I've heard, except for Garrott's $6000 P89. Those who run moving magnets exclusively, a minority among audiophiles who seem generally wed to the moving coil, can opt for the moving magnet-only 834P, available by special order for $795.
The EAR clearly revealed the differences in tonearms and turntables. The more traditionally 'audiophile' Clearaudio Champion Level 2/ Clearaudio Unify Unipivot arm/ Sigma Wood moving coil cartridge front end was stunning in neutrality, resolution, and 3-D stereo effects. Also highly evident, though, was this set-up's intellect-oriented presentation. My Linn LP12s, Origin Live Standard Kit, AR/Merrill and antique Connoisseur BD2a turntables were more in keeping with the EAR's rhythmic and dynamic aplomb, musical lines flowing with the kind of ease and believability that one more normally associates with live musical expression.
In standard trim and set-up, the EAR 834P rates high musical marks indeed. The use of effective isolation proved transmogrifying - dispelling any quibbles about lack of hallucinogenic imaging and completely nullifying my suspicion that moving magnet performance was superior to the EAR's transformer derived MC amplification. My experience with the state-of-the-art in isolation products over the years has led me to the conclusion that a component played 'neat' shows only a fraction of its true capacities compared to what it can produce when removed from the contaminating effects of spurious vibration. The small size of the EAR precluded optimum usage with some of the devices I had available. The new Stillpoints, (at $279 for a set of 3, a joint effort from Paul Wakeen, ex-Aurios and Larry Jacoby and Deb Folz, both ex-Wadia) vaulted the already excellent performance of the 834P into an altogether different realm. Stunning and mind-blowing are probably the mildest of adjectives to be used in describing the 834P when placed on the Stillpoints: the sonic improvements in image placement and soundstage transparency, the superior resolution of low level information, the extension of bandwidth and flow of dynamic gradations were matched by an equally exalted improvement in the already heady and deeply moving communicative powers of the 834P. Lyric intelligibility, as just one example, went from the very good to one of the very best when the EAR was placed on the Stillpoints. The EAR's performance with moving coil was improved to the point where my mild suspicions as to its ultimate capacities were vanquished.
The highest of recommendations for the EAR 834P then, especially when mounted on the Stillpoints. Old news is good news indeed.“The saxophone is, unaided, a humorist. It looks like a sea horse and sounds like a canned fiddle.” (Music Critic writing in 1912 about an instrument that had only just begun to catch on.)
In the pages of the Stereo Times, several of my colleagues have written glowing reviews of Albert Von Schweikert’s wonderful loudspeaker products. Most recently, Alvester Garnett wrote a very insightful review of the new two-way VR-1. Due to some fortuitous circumstances, I too came across a pair of the VR-1s and decided to add my two cents about this little gem of a speaker.
Upon their arrival, I placed them into service in my small office space, which measures 8’ x ’12. The VR-1 employs several of Von Schweikert’s proprietary technologies, many of which are used in his more expensive designs. Like the critic who wrote about the sax, some may be skeptical of this newest Von Schweikert design, after all, what kind of alchemy allows him to get so much bass (down to 40Hz) out of such a small box (8” x 11” x 12”)? But as my listening sessions over these many months confirmed, these loudspeakers offer the listener many musical rewards, especially when proper room size and synergy with companion gear is realized.
The VR-1 is a dynamic two-way, using a pressure-release damping system (its small port is periodically tuned to frequencies below the driver resonance and thus provides no bass output, allowing for placement inside wall units or preferably, on sturdy stands close to back and side walls). The 165mm woofer is composed of newly devised composite cone materials (mica-impregnated acetate pulp with polymer resin damping) using a long-throw aluminum voice coil and a basket of cast polymer with venting for spider decompression and noise reduction. The 25mm tweeter is of semi-rigid composite construction utilizing textiles and synthetic damping compounds. Close attention has been paid to the cabinet design, as the VR-1 employs internal cross bracing, submarine-hull damping gaskets and proprietary stuffing designed to reduce cross talk and midrange colorations. Finally, the VR-1 employs a proprietary crossover utilizing a fourth-order acoustic filter design that claims to provide a high degree of accuracy and an improved three-dimensional image for such a diminutive speaker. The pair I had came in a ravishing cherry veneer.
I used the term “ravishing” to describe the cosmetics of my cherry veneered pair (workmanship was first rate, including attention to packaging and user-friendly manuals). This description crystallizes what I heard from the VR-1. I echo Alvester’s observations that the VR-1 offered a pleasurable full-bodied presentation, with lots of air and space surrounding musicians, in a surprisingly wide and accurate soundstage for such a small speaker. The real treat here is the upper bass and lower midrange regions, offering some of the most accurate depictions of acoustic space that I have encountered with speakers of this size. For example, listening to the St. Louis Symphony playing Aaron Copland’s 1938 one-act ballet, Billy The Kid, [EMI Classics 5736532], the “Gun Battle” begins with an explosive burst of bass, snare and low brass, punctuated by xylophone runs. It ends with a profound recession of this explosive color until nothing remains but sonic smoke. The VR1’s propelled me into this colorful scene, with bass that was quick, meaty and full, and without any bloat or smear. In my near field listening, I heard midbass and midrange notes struck and fade naturally into the soundstage in an accurate and truthful fashion. Alvester noted in his review some observation of bass “wooliness” on some cuts, but I only discerned such qualities when the VR-1 was still in its (very lengthy) required break in period. (Albert advises at least 300-400 hours of break-in time to realize the engineering target and I found this definitely to be the case with the VR-1.) This speaker reveled in high-energy, bass-driven, rock and roll, as well as electric and acoustic blues. Turn that dial up and head over to the “Gallow Pole,” from the Blue Rider Trio’s Preachin’ the Blues
[Mapleshade 56962]. Jeff Sarli’s “slap” bass was produced with full weight, eerily suggesting the confines of the acoustic recording space for which Mapleshade discs are so well regarded. Turning to one of my favorite recordings for bass reproduction, Keith Richard’s eclectic, “Main Offender” [Virgin 864992], “Eileen” literally exploded out of the VR-1s with power and sizzle, with bass lines driving a tight, weighty foundation. The VR-1 is a great dynamic loudspeaker in a small space and I bet, would be great in a multi-channel setup to capture the full weight and delivery of soundtrack elements racing by.
Moving up the frequency ladder, the VR-1 captures a lot of midrange meatiness and warmth, only giving away some virtues in the mid to high treble frequencies. I agree with Alvester that the treble in general seemed a bit recessed and gave up a small amount of high frequency extension and delicacy when compared with my treble champ in the small stand-mounted speaker category, the Penaudio Rebel 2 loudspeakers. However, female vocalists on the VR-1s were still very enticing, with a warmth and rounded character that many would enjoy. A great example of this was listening to Ella Fitzgerald on her seductive Take Love Easy duet with Joe Pass [JVCXRCD0031-2]. The VR-1’s presentation of Ella’s range, from low registers to her velvet highs, was luscious and yes, ravishing. There was a harmonic richness that can’t be beat here, drawing the listener into the event and the ambiance of the recording space. In this same recording, Pass’ guitar lost a bit of its shimmer and delicate detail, in favor of a warmer and weightier presentation, that some might prefer. This does not translate to detachment from the musical event, on the contrary, it is the voluptuousness of the VR-1’s presentation that draws us in. Summing this up would be best served by a listen to the great Yo-Yo Ma and his wonderful foray into Brazilian music on his disc, Obrigado Brazil [Sony Classical 89935]. Oh, what a marvel this recording is and what breadth of vision! Through the VR-1 lens, Ma’s cello has all of the woody warmth and tension that one would like, with a tonal accuracy that is a joy to hear. When other great Brazilian musicians surround Ma, for example, on the romping “Brasileirimho,” the VR-1 offers a wide and glorious soundstage, again with a slight recessing and blending of percussion and piano color, in favor of an enveloping rich, full “Virtual Reality.”
The VR-1 is a ravishing partner who will lead you into a warmly lit soundscape filled with accurate timbre to enjoy all genres of music and dance well into the evening. It affords its vision of musicality best at low to moderate volume, perfect for small listening spaces. It should be placed on the audition list of anyone looking for a stand-mounted speaker for a small to medium listening space, especially given its pricing and musical value. Some final observations: Be aware of the long break in period necessary for this dance partner to agree to come join you on the dance floor. It can sound constrained in the bass and tinny on top before this is accomplished. Secondly, make sure to experiment with associated gear, as I found some amplifiers and cables to be much better dance partners with the VR-1. Solid-state amplifiers, with lots of headroom, speed and control were best. I used the new MBL 7008 integrated (review forthcoming) and found it best, although less powerful and less expensive solid state amps, such as the Portal Panache worked well too, but were just a little shy in getting all of the speed and bass out of the VR-1 capabilities. Cables that tended to the warmer side, such as Acoustic Zen Holograms, were less successful in bringing out the full soundstage and treble detail of the VR-1. I found Audience Au24 cables to be a perfect match, as they worked to ratchet-up the dynamic energy, detail and soundstage width of the VR-1. Highly recommended! Keep dancing, my friends.
__________________
Specifications:
Woofer: 6.5' resin impregnated mica/cellulose composite cone, cast frame, high temperature voice coil, and large shielded magnet. VSA Low Distortion Motor system.
Tweeter: 1' composite silk dome VSA tweeter with resin impregnation, large shielded magnet and high-temp voice coil. VSA Low Distortion Motor system.
Crossover: Phase-consistent Global Axis Integration Network with stacked First Order circuits configured to enable 4th order acoustic slopes for minimum cross-talk distortion and reduced lobing.
Frequency Response: 40Hz to 25 kHz (-3dB points, in-room). Anechoic Graphs included*
Impedance: 8 ohms nominal, 5 ohms min.
Sensitivity: 89 dB @one watt/one meter. (in-room, non anechoic)
Power Handling: 100 watts continuous music (200 watts per channel peak).
Minimum Power: 8 watts per channel. Single Ended Triode Amps welcome!
Dimensions: 12' x 8' x 11'
Moving up the frequency ladder, the VR-1 captures a lot of midrange meatiness and warmth, only giving away some virtues in the mid to high treble frequencies. I agree with Alvester that the treble in general seemed a bit recessed and gave up a small amount of high frequency extension and delicacy when compared with my treble champ in the small stand-mounted speaker category, the Penaudio Rebel 2 loudspeakers. However, female vocalists on the VR-1s were still very enticing, with a warmth and rounded character that many would enjoy. A great example of this was listening to Ella Fitzgerald on her seductive Take Love Easy duet with Joe Pass [JVCXRCD0031-2]. The VR-1’s presentation of Ella’s range, from low registers to her velvet highs, was luscious and yes, ravishing. There was a harmonic richness that can’t be beat here, drawing the listener into the event and the ambiance of the recording space. In this same recording, Pass’ guitar lost a bit of its shimmer and delicate detail, in favor of a warmer and weightier presentation, that some might prefer. This does not translate to detachment from the musical event, on the contrary, it is the voluptuousness of the VR-1’s presentation that draws us in. Summing this up would be best served by a listen to the great Yo-Yo Ma and his wonderful foray into Brazilian music on his disc, Obrigado Brazil [Sony Classical 89935]. Oh, what a marvel this recording is and what breadth of vision! Through the VR-1 lens, Ma’s cello has all of the woody warmth and tension that one would like, with a tonal accuracy that is a joy to hear. When other great Brazilian musicians surround Ma, for example, on the romping “Brasileirimho,” the VR-1 offers a wide and glorious soundstage, again with a slight recessing and blending of percussion and piano color, in favor of an enveloping rich, full “Virtual Reality.”
The VR-1 is a ravishing partner who will lead you into a warmly lit soundscape filled with accurate timbre to enjoy all genres of music and dance well into the evening. It affords its vision of musicality best at low to moderate volume, perfect for small listening spaces. It should be placed on the audition list of anyone looking for a stand-mounted speaker for a small to medium listening space, especially given its pricing and musical value. Some final observations: Be aware of the long break in period necessary for this dance partner to agree to come join you on the dance floor. It can sound constrained in the bass and tinny on top before this is accomplished. Secondly, make sure to experiment with associated gear, as I found some amplifiers and cables to be much better dance partners with the VR-1. Solid-state amplifiers, with lots of headroom, speed and control were best. I used the new MBL 7008 integrated (review forthcoming) and found it best, although less powerful and less expensive solid state amps, such as the Portal Panache worked well too, but were just a little shy in getting all of the speed and bass out of the VR-1 capabilities. Cables that tended to the warmer side, such as Acoustic Zen Holograms, were less successful in bringing out the full soundstage and treble detail of the VR-1. I found Audience Au24 cables to be a perfect match, as they worked to ratchet-up the dynamic energy, detail and soundstage width of the VR-1. Highly recommended! Keep dancing, my friends.
__________________
Specifications:
Woofer: 6.5' resin impregnated mica/cellulose composite cone, cast frame, high temperature voice coil, and large shielded magnet. VSA Low Distortion Motor system.
Tweeter: 1' composite silk dome VSA tweeter with resin impregnation, large shielded magnet and high-temp voice coil. VSA Low Distortion Motor system.
Crossover: Phase-consistent Global Axis Integration Network with stacked First Order circuits configured to enable 4th order acoustic slopes for minimum cross-talk distortion and reduced lobing.
Frequency Response: 40Hz to 25 kHz (-3dB points, in-room). Anechoic Graphs included*
Impedance: 8 ohms nominal, 5 ohms min.
Sensitivity: 89 dB @one watt/one meter. (in-room, non anechoic)
Power Handling: 100 watts continuous music (200 watts per channel peak).
Minimum Power: 8 watts per channel. Single Ended Triode Amps welcome!
Dimensions: 12' x 8' x 11'
The owners manual states a.23mv output at 1KHZ, but another part of the manual puts its output voltage at.16 mv. Anyways, the moving coil input stage of the EAR 834P is sufficient to get the job done, but just barely. The owners manual incorrectly identifies tubes or their locations or both, and manufacturer support was (is?)absymal. Look at one with the lid off, listen to it with the right tubes installed, check out all the functions to make sure they work, and make your own decision whether it will float your boat.
Moving magnet and moving coil tube phono preamplifier12 AX7 (ECC 83) tubes
MC amplification by transformer
Dimensions: 5' W × 4' H × 9' D
Price: $995 (Black).
Price: $1295 (Chrome).
Address:
US Distributor:
EAR USA
Dan Meinwald
Sound Advice
1087 E. Ridgewood Street
Long Beach, CA
90807 USA
Telephone: 001 562 422 4747
Fax: 001 562 6577
Email: info@ear-usa.com
Website: www.ear-usa.com/index.html
and www.ear-yoshino.com/
One of the major pitfalls of journalism is that because of its pre-occupation with the news of the day, it tends to lose perspective and context. Mainstream audio journalism is prey to the same foible, with Component of the Month Syndrome highly dominant. Probably the most glaring example is Stereophile's List of Recommended Components, where an older piece on the list is bumped simply because of the time elapsed since it was reviewed.
Tim de Paravicini's designs have the reputation of withstanding the tests of time. While the EAR 834P has been available for a few years now, it bears listening to with News of the Day freshness and currency. It's one of those 'Yes!' products - where you know immediately that something right and good is happening.
The 834P is a classic rectangular black box roughly the size of a carton of English International size cigarettes, featuring only an on/off switch on its stately front panel. The back includes two sets of RCA jacks along with a push-button to select either moving magnet or moving coil and a detachable AC cord. The EAR rests on 4 soft feet. A tube design utilizing 12AX7 tubes, the EAR uses transformers for the additional gain necessary to preamplify moving coil cartridges. A 'Signature' version is available that will cosmetically match EAR's preamplifiers and amplifiers; the circuitry of the 834P is also available within a full-featured preamp, the 864.
Although I own 2 sets of tube electronics (3 pieces of which are vintage items) in addition to my various solid state components, I don't attribute musical excellence purely to a type of amplifying device: it's what you do with tubes or transistors that matters. I've experienced intense musical pleasure from both tubes and solid state, so have no particular axe to grind. In particular, I don't find the old stereotypes - soft and mellow tubes versus harsh and bright solid state - to be dogmatically applicable to any well-designed component. Excellent tube designs do, however, tend to produce very believable timbres with acoustic instruments and excel in painting tonal colors, particularly important in classical music where a live reference is available for comparison.
Ear 834p Manual
The Garrott Brothers Optim FGS moving magnet cartridge has become my reference for affordable musical communication. Since Garrott uses tube phono amplification in their listening/development tests, I first ran the EAR 834P in an all-tube system. The musical results of this set-up were truly engrossing and riveting: dynamics, drive, rhythm and musical phrasing/accents were simply exemplary. The EAR was exceptional in getting the heart of music right. I immediately stopped listening to my staple reference critical-listening LPs, and began randomly listening to various LPs purely for the musical pleasure: the entire Procol Harum catalogue, then The Band's, then the Buffalo Springfield/Neil Young/Steve Stills nexus, the Doors, and finishing with Jim Hendrix. The EAR proved superb at recreating the drive, emotional intensity, and the literally electrical intensity of this music. Jimi Hendrix understood perhaps more clearly than anyone that music is a physical power and the EAR superbly reproduced that tangible electric cosmic power that Hendrix so intensely unleashed.
A listening journey through 50's/60's small combo jazz proved equally compelling: noteworthy was the EAR's ability to fully articulate the bass parts of these recordings, many of which (on later re-issues anyway) seem to present the bass player as a weird sort of background phantom. Not only was the bass present as a full participating member of the music, but bass sonorities were rich and full-bodied, with taut and excellent transient control and drive. I was moved deeply by the musical expressiveness of solo instruments - horns and piano - the emotion behind the notes being clearly revealed. Be it the 'dry martini' sonority of Paul Desmond, the studied cool of Miles Davis, the gentle 'rain on the windows' of Bill Evans' piano or the cosmic destroyer aspects of Pharoah Sanders/John Coltrane in their more exorcistic moments, I was getting the heart and emotion of the music.
Tim de Paravicini is perhaps best known for the tube electronics he designed for Chesky's re-issues of the classic RCA Shaded Dog LPs and listening to a batch of these proved an exercise in natural timbres and a total immersion into the music. Smaller scale music, particularly string quartets, was presented with the same intimacy and communication that was so engrossing with jazz. The pure unalloyed joy of Mozart's early Divertimenti was reproduced with breathtaking exuberance, the EAR easily passing one of my prime requisites for any component.
Results with my other MusicMaster moving magnet cartridge, the Rega Exact, were similarly compelling and musical enriching and I was having one of those pleasant reviewing experiences where you know immediately that the component is excellent: the question then becomes just how excellent it ultimately is.
I did not play around with varying AC cords, or indulge in tube tweaking, but of necessity with an outboard phono stage, choosing an interconnect was required. I didn't find this an anguish-inducing experience - the Clearaudio Sixstream, van den Hul The First, and Origin Live Reference all proved deeply satisfying - leading me to believe that the EAR is not particularly fussy and high-strung about interconnect choice. I auditioned the EAR without isolation devices at first and the following comments all refer to the 834P played 'neat.'
Sonically the EAR was without electronic edge or glare, with a non-analytic cast to the proceedings. It tended to focus on the entirety of the music rather than breaking each recording down to its component parts. I find this ability more musically satisfying than components that neglect the forest for the trees. Transient control was very good, with good tracking of the decay of notes. Soundstaging and stereoscopy were believable and non-intrusive, though short of hallucinogenic intensity. Ultimate detail and transparency is short of the very best, but considering the EAR's price and its other sterling musical virtues, acceptable. I never found myself squinting with my ears or baffled by any aspect of the musical proceedings. I found noise to be a non-issue also.
Listening to the EAR in my solid-state system was slightly less intense, as parts of its abilities were lost in the transition to transistor amplification. This is normal for tube electronics: their full flowering normally requires all-tube systems to hear to the fullest. Context plays a role too. Though I was unable to audition the 834 in the context of a full EAR system, I'm deeply aware that most of front-rank designer's products (and Tim di Paravicini is certainly one) need to be heard within their complete systems to produce the designer's full intent.
The moving coil section of the EAR uses transformers to produce the additional gain necessary for their lower output and Tim de Paravicini has a reputation as a master of moving coil transformer design. Running the Audio Technica AT OC9ML, Garrott re-tipped Blue Point Special, and Talisman Boron revealed less stirring performance, due to the fact that these 4 cartridges are not as successful music makers as the 2 moving magnets I used. My Goldring Eroica LX, also re-tipped by Garrott, however, flowered with the EAR, as did the Ortofon Jubilee. The EAR faithfully revealed the sonic signature of these cartridges, and revealed as much of its own considerable abilities in the process, without forcing its personality on them. My suspicion, which I was not able to verify to any degree of certainty, was that moving magnet performance of the 834P was perhaps stronger than that of moving coil. This was due to the overwhelmingly stunning dynamic performance of the moving magnet Garrott Optim FGS, a cartridge whose dynamic and musical coherency is unmatched by any moving coil cartridge I've heard, except for Garrott's $6000 P89. Those who run moving magnets exclusively, a minority among audiophiles who seem generally wed to the moving coil, can opt for the moving magnet-only 834P, available by special order for $795.
The EAR clearly revealed the differences in tonearms and turntables. The more traditionally 'audiophile' Clearaudio Champion Level 2/ Clearaudio Unify Unipivot arm/ Sigma Wood moving coil cartridge front end was stunning in neutrality, resolution, and 3-D stereo effects. Also highly evident, though, was this set-up's intellect-oriented presentation. My Linn LP12s, Origin Live Standard Kit, AR/Merrill and antique Connoisseur BD2a turntables were more in keeping with the EAR's rhythmic and dynamic aplomb, musical lines flowing with the kind of ease and believability that one more normally associates with live musical expression.
In standard trim and set-up, the EAR 834P rates high musical marks indeed. The use of effective isolation proved transmogrifying - dispelling any quibbles about lack of hallucinogenic imaging and completely nullifying my suspicion that moving magnet performance was superior to the EAR's transformer derived MC amplification. My experience with the state-of-the-art in isolation products over the years has led me to the conclusion that a component played 'neat' shows only a fraction of its true capacities compared to what it can produce when removed from the contaminating effects of spurious vibration. The small size of the EAR precluded optimum usage with some of the devices I had available. The new Stillpoints, (at $279 for a set of 3, a joint effort from Paul Wakeen, ex-Aurios and Larry Jacoby and Deb Folz, both ex-Wadia) vaulted the already excellent performance of the 834P into an altogether different realm. Stunning and mind-blowing are probably the mildest of adjectives to be used in describing the 834P when placed on the Stillpoints: the sonic improvements in image placement and soundstage transparency, the superior resolution of low level information, the extension of bandwidth and flow of dynamic gradations were matched by an equally exalted improvement in the already heady and deeply moving communicative powers of the 834P. Lyric intelligibility, as just one example, went from the very good to one of the very best when the EAR was placed on the Stillpoints. The EAR's performance with moving coil was improved to the point where my mild suspicions as to its ultimate capacities were vanquished.
The highest of recommendations for the EAR 834P then, especially when mounted on the Stillpoints. Old news is good news indeed.“The saxophone is, unaided, a humorist. It looks like a sea horse and sounds like a canned fiddle.” (Music Critic writing in 1912 about an instrument that had only just begun to catch on.)
In the pages of the Stereo Times, several of my colleagues have written glowing reviews of Albert Von Schweikert’s wonderful loudspeaker products. Most recently, Alvester Garnett wrote a very insightful review of the new two-way VR-1. Due to some fortuitous circumstances, I too came across a pair of the VR-1s and decided to add my two cents about this little gem of a speaker.
Upon their arrival, I placed them into service in my small office space, which measures 8’ x ’12. The VR-1 employs several of Von Schweikert’s proprietary technologies, many of which are used in his more expensive designs. Like the critic who wrote about the sax, some may be skeptical of this newest Von Schweikert design, after all, what kind of alchemy allows him to get so much bass (down to 40Hz) out of such a small box (8” x 11” x 12”)? But as my listening sessions over these many months confirmed, these loudspeakers offer the listener many musical rewards, especially when proper room size and synergy with companion gear is realized.
The VR-1 is a dynamic two-way, using a pressure-release damping system (its small port is periodically tuned to frequencies below the driver resonance and thus provides no bass output, allowing for placement inside wall units or preferably, on sturdy stands close to back and side walls). The 165mm woofer is composed of newly devised composite cone materials (mica-impregnated acetate pulp with polymer resin damping) using a long-throw aluminum voice coil and a basket of cast polymer with venting for spider decompression and noise reduction. The 25mm tweeter is of semi-rigid composite construction utilizing textiles and synthetic damping compounds. Close attention has been paid to the cabinet design, as the VR-1 employs internal cross bracing, submarine-hull damping gaskets and proprietary stuffing designed to reduce cross talk and midrange colorations. Finally, the VR-1 employs a proprietary crossover utilizing a fourth-order acoustic filter design that claims to provide a high degree of accuracy and an improved three-dimensional image for such a diminutive speaker. The pair I had came in a ravishing cherry veneer.
I used the term “ravishing” to describe the cosmetics of my cherry veneered pair (workmanship was first rate, including attention to packaging and user-friendly manuals). This description crystallizes what I heard from the VR-1. I echo Alvester’s observations that the VR-1 offered a pleasurable full-bodied presentation, with lots of air and space surrounding musicians, in a surprisingly wide and accurate soundstage for such a small speaker. The real treat here is the upper bass and lower midrange regions, offering some of the most accurate depictions of acoustic space that I have encountered with speakers of this size. For example, listening to the St. Louis Symphony playing Aaron Copland’s 1938 one-act ballet, Billy The Kid, [EMI Classics 5736532], the “Gun Battle” begins with an explosive burst of bass, snare and low brass, punctuated by xylophone runs. It ends with a profound recession of this explosive color until nothing remains but sonic smoke. The VR1’s propelled me into this colorful scene, with bass that was quick, meaty and full, and without any bloat or smear. In my near field listening, I heard midbass and midrange notes struck and fade naturally into the soundstage in an accurate and truthful fashion. Alvester noted in his review some observation of bass “wooliness” on some cuts, but I only discerned such qualities when the VR-1 was still in its (very lengthy) required break in period. (Albert advises at least 300-400 hours of break-in time to realize the engineering target and I found this definitely to be the case with the VR-1.) This speaker reveled in high-energy, bass-driven, rock and roll, as well as electric and acoustic blues. Turn that dial up and head over to the “Gallow Pole,” from the Blue Rider Trio’s Preachin’ the Blues [Mapleshade 56962]. Jeff Sarli’s “slap” bass was produced with full weight, eerily suggesting the confines of the acoustic recording space for which Mapleshade discs are so well regarded. Turning to one of my favorite recordings for bass reproduction, Keith Richard’s eclectic, “Main Offender” [Virgin 864992], “Eileen” literally exploded out of the VR-1s with power and sizzle, with bass lines driving a tight, weighty foundation. The VR-1 is a great dynamic loudspeaker in a small space and I bet, would be great in a multi-channel setup to capture the full weight and delivery of soundtrack elements racing by.
Moving up the frequency ladder, the VR-1 captures a lot of midrange meatiness and warmth, only giving away some virtues in the mid to high treble frequencies. I agree with Alvester that the treble in general seemed a bit recessed and gave up a small amount of high frequency extension and delicacy when compared with my treble champ in the small stand-mounted speaker category, the Penaudio Rebel 2 loudspeakers. However, female vocalists on the VR-1s were still very enticing, with a warmth and rounded character that many would enjoy. A great example of this was listening to Ella Fitzgerald on her seductive Take Love Easy duet with Joe Pass [JVCXRCD0031-2]. The VR-1’s presentation of Ella’s range, from low registers to her velvet highs, was luscious and yes, ravishing. There was a harmonic richness that can’t be beat here, drawing the listener into the event and the ambiance of the recording space. In this same recording, Pass’ guitar lost a bit of its shimmer and delicate detail, in favor of a warmer and weightier presentation, that some might prefer. This does not translate to detachment from the musical event, on the contrary, it is the voluptuousness of the VR-1’s presentation that draws us in. Summing this up would be best served by a listen to the great Yo-Yo Ma and his wonderful foray into Brazilian music on his disc, Obrigado Brazil [Sony Classical 89935]. Oh, what a marvel this recording is and what breadth of vision! Through the VR-1 lens, Ma’s cello has all of the woody warmth and tension that one would like, with a tonal accuracy that is a joy to hear. When other great Brazilian musicians surround Ma, for example, on the romping “Brasileirimho,” the VR-1 offers a wide and glorious soundstage, again with a slight recessing and blending of percussion and piano color, in favor of an enveloping rich, full “Virtual Reality.”
The VR-1 is a ravishing partner who will lead you into a warmly lit soundscape filled with accurate timbre to enjoy all genres of music and dance well into the evening. It affords its vision of musicality best at low to moderate volume, perfect for small listening spaces. It should be placed on the audition list of anyone looking for a stand-mounted speaker for a small to medium listening space, especially given its pricing and musical value. Some final observations: Be aware of the long break in period necessary for this dance partner to agree to come join you on the dance floor. It can sound constrained in the bass and tinny on top before this is accomplished. Secondly, make sure to experiment with associated gear, as I found some amplifiers and cables to be much better dance partners with the VR-1. Solid-state amplifiers, with lots of headroom, speed and control were best. I used the new MBL 7008 integrated (review forthcoming) and found it best, although less powerful and less expensive solid state amps, such as the Portal Panache worked well too, but were just a little shy in getting all of the speed and bass out of the VR-1 capabilities. Cables that tended to the warmer side, such as Acoustic Zen Holograms, were less successful in bringing out the full soundstage and treble detail of the VR-1. I found Audience Au24 cables to be a perfect match, as they worked to ratchet-up the dynamic energy, detail and soundstage width of the VR-1. Highly recommended! Keep dancing, my friends.
__________________
Specifications:
Woofer: 6.5' resin impregnated mica/cellulose composite cone, cast frame, high temperature voice coil, and large shielded magnet. VSA Low Distortion Motor system.
Tweeter: 1' composite silk dome VSA tweeter with resin impregnation, large shielded magnet and high-temp voice coil. VSA Low Distortion Motor system.
Crossover: Phase-consistent Global Axis Integration Network with stacked First Order circuits configured to enable 4th order acoustic slopes for minimum cross-talk distortion and reduced lobing.
Frequency Response: 40Hz to 25 kHz (-3dB points, in-room). Anechoic Graphs included*
Impedance: 8 ohms nominal, 5 ohms min.
Sensitivity: 89 dB @one watt/one meter. (in-room, non anechoic)
Power Handling: 100 watts continuous music (200 watts per channel peak).
Minimum Power: 8 watts per channel. Single Ended Triode Amps welcome!
Dimensions: 12' x 8' x 11'
Weight: 13lbs ea. (28 lbs packed pair for shipping)
Inputs: 5-way rhodium plated binding posts.
Warranty: Ten years parts and labor, excluding burned voice coils due to amplifier clipping.
Price: $995.00
Address:
Von Schweikert Audio
930 Armorlite Dr.
San Marcos, California 92069
Phone: (760) 410-1650
Fax: (760) 410-1655
Ear 834p Service Manual
http://www.vonschweikert.com
Ear 834p Phono Preamp
