EAR 802, 509, 519, 549 - PRE AND POWER AMPLIFIERS

EAR 824 MICROPHONE AMPLIFIER

The EAR825 is a stereo equaliser for studio use where sound quality is the top priority. Housed in a single 3U 19-inch rack mount unit, it gives the user flexible and intuitive control over a wide range of response shaping options.

On each channel there are five bands of EQ. Shelf filters give boost or cut in the bass and treble. with four corner frequencies on each control and variable degrees of boost or cut. In addition there are three tuned boost/cut filters with centre frequency adjustable over a total range of 60Hz to 16kHz. These give a maximum boost or cut of 12dB, allowing quite large response variation but without sacrificing sensitivity. Controls are laid out for maximum ease of use and can be bypassed at the flick of a switch for quick reference to the original signal.

All the equalising circuitry in the EAR825 is completely passive, with valve (tube) electronic stages providing buffering and amplification on the input and output. This valve circuitry follows designer Tim de Paravicini’s philosophy of low distortion, low noise, high headroom and wide bandwidth and runs in single-ended mode with ultra-high-quality, in-house designed, coupling transformers providing balanced and floating input and output connections at studio levels. A highly filtered power supply ensures that operation is not impaired by disturbances on the electricity mains. As with all EAR professional audio products, reliability is paramount and valve life is typically 10,000 hours.

EAR825Q SpecificationsFrequency Response controls defected 5Hz - 50kHz 0.5dBGain 0dBInput Fully Floating Bridging 20kOutput Fully Floating for 600 use Source Impedance 60Distortion = Less than 0.1% @+4dB (1.22V) Midband, Less than 0.5% @ +24dB (12.2V)Controls 5 Band Stereo 1, Bass Shelf @ 20, 30, 60, 100Hz 12dB

2, Bass Bell Filter @ 60, 120, 240, 500, 700Hz & 1kHz 12dB3, Mid Range @ 1.5k, 2k, 3k, 4k, 5kHz 12dB4, Treble Range @ 6k, 8k, 10k, 12k, 16kHz 12dB5, Treble Shelf @ 3k, 5k, 10k, 20kHz12dB

Defeat Switch Power Switch Voltage ACPower Consumption 50VA 100 -250v (Factory Option)Size: 19” x 5¼” (3U) x 10” depth Weight: 10kg

EAR 660 Limiter/Compressor Amplifier

The EAR 660 Fairchild-type valve limiter/compressor is designed to limit or compress the signal with the barest minimum of interference below threshold, and the most subjectively satisfying operation on high level

signals. The choice of attack and release times is similar to other limiter/compressors, but it is the characteristics of this unit around the “knee” of the attack/decay envelope that contribute to its excellent performance. The audio circuit conforms to the EAR principles of simplicity and subjective “transparency”, with low distortion at all normal signal levels. The onset of limiting is sufficiently gentle not to call attention to itself, although in fact the unit will react very rapidly to overload conditions when required.

If your application requires the use of a limiter/compressor, but you wish to protect the fidelity of the source signal, the EAR 660 is the ideal tool.

Input and output impedance - 600 ohm nominal, balancedand floating.Gain (max) - 20dBInput and output normal operating level -+4dBmMaximum output level (1% distortion) -+16dBm linear,+10dB @ 10 dB compressionAttack time - 0.2 to 0.8ms variableRelease time - 0.3 to 5s variableRelease time (“classical music” setting) - up to 25s forsustained high levels.Compression ration - 1:1 to 10:1 adjustable

Quotes From Various Satisfied Clients

“From smooth, transparent limiting to aggressive, ballsy compression. Faster and more transparent than a Fairchild the EAR660 is my favourite Compressor/Limiter.”“Tim has designed and built the best valve Compressor/Limiter on the market today”

-James Guthrrie, Grammy winning Producer/Engineer (Pink Floyd, Toto Kate Bush)

“For more than twenty years in this business I’ve been looking for a compressor/limiter that doesn’t require

any compromise or trade-off. I’ve finally found it. The most transparent piece of equipment I own.” -Joe Gastwirt - Mastering Engineer,

Owner - Ocean view Digital, Los Angeles

“At first you think - WOW!Incredible! - Then you think - it’s very subtle because not much changed - Sounds so much better!But then you listen without them and you know you’ve found pure magic in a box.”

-Jim Keltner, Drummer

“The best vocal compressor I’ve ever used, oh and the best overall mix compressor, and the best bass compressor, in fact simply the best compressor made”

-Andy Jackson, Twice Grammy nominated engineer, Pink Floyd

“In lengthy tests for leading industry clients, the EAR660 was compared with an original Fairchild 660, lined up to specification by our Head Technician, David Way. Five of the eight clients preferred the EAR, and three

preferred the Fairchild, the difference in audio quality being almost indistinguishable. If anything, the EAR had a firmer, more positive bottom end, but the overall sound on a variety of programme material (particularly vocals and guitars) was characteristic of the ‘classic’ tube warmth, and vocals in particular acquired a rich, full and smooth sound so hard to attain with mass produced compressors.”

-Mark Thompson, Eccentric Directions/Funky Junk

“The EAR660 has been indispensable to me as a producer/artist. It has enhanced all my recordings and is heavily featured on the world-wide hit “A girl like you”.

It’s Mr. de Paravicini’s attention to detail, hand wound transformers etc. that sets it apart from “pseudo classic” designs - there is no compromise”

-Edwyn Collins

Just a few more extremely satisfied users.David GilmourDavid Lord (Producer, Peter Gabriel, Icehouse, etc)Peter HammilMark Linnett (top USA Producer)Britannia Row Productions (top European PA Co) Antoine de Castellane (French Producer)