EAR Yoshino 912
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The EAR 509 is their best amp ever. I own the EAR 890 but it requires excellent footers to not sound like mud. I am currently using Synergistic Research MiG - SX footers. I also put 3 SR ETCs on top of the transformers. It is sitting on a granite platform with 12" 3000 psi concrete and steel floor.
I used the EAR Acute for 13 years but have moved on to the COS Engineering D1 now. It has a smooth yet utterly detailed sound, like a good record (of which I have 28,500). I heard the EAR Acute Classic at a show 3 years ago and it did sound very good into Class D amp and preamp (Prana Audio). Your system must have great sound.
I used the EAR Acute for 13 years but have moved on to the COS Engineering D1 now. It has a smooth yet utterly detailed sound, like a good record (of which I have 28,500). I heard the EAR Acute Classic at a show 3 years ago and it did sound very good into Class D amp and preamp (Prana Audio). Your system must have great sound.
Can;'t say I was over-fussed with the EAR 509 I had a pair of 509 MkII monoblocks and I found them a bit flat-footed with Tannoy 15in Monitor Golds. My favourite in the EAR line was the 861 though with only 32w it obvioulsy is very speaker-dependent. (I also owned the V20, 890 and 899, and heard the 534 in my system for an extended period).
I had the original EAR Acute CD but traded it for Audio Note CDT2/II transport and DAC 4.1x - far more accomplished combo albeit with a much larger footprint.
And indeed also owned an EAR 912 phono preamp for an extended period - since replaced with Allnic HA5000 head amp, H7000V phono and Audiopax Model 5/v4.5 preamp. As you'd expect, replacing one box with six had a bit of an impact, but altogether I have very fond memories of my time with the 912, the LCR phono stage in there is one of the best there is, period.
I had the original EAR Acute CD but traded it for Audio Note CDT2/II transport and DAC 4.1x - far more accomplished combo albeit with a much larger footprint.
And indeed also owned an EAR 912 phono preamp for an extended period - since replaced with Allnic HA5000 head amp, H7000V phono and Audiopax Model 5/v4.5 preamp. As you'd expect, replacing one box with six had a bit of an impact, but altogether I have very fond memories of my time with the 912, the LCR phono stage in there is one of the best there is, period.
Yes, everyone on this site prefers the Allnic phono and Audiopax preamp although the Allnic uses exotic tubes. I enjoyed listening to the EAR 912 phono many times. I have a custom designed subminiature tube preamp and phono preamp which doesn't have as black a background but is super dynamic.
What did you think about the EAR 890 and what if any, footers or devices did you use to make it sound better? The EAR 861 uses the 519 tubes and lower power. Usually a lower powered amp has better sound in my experience.
The EAR Acute/Classic can be bettered by high end DACs. I am searching for a replacement CD transport. You have the AudioNote. I have considered the CEC TL5n and the Jay's Audio transports. I wonder how they compare as transports as they do make a difference (I compared Cambridge, EAR and DVD players and found wildly different results).
What did you think about the EAR 890 and what if any, footers or devices did you use to make it sound better? The EAR 861 uses the 519 tubes and lower power. Usually a lower powered amp has better sound in my experience.
The EAR Acute/Classic can be bettered by high end DACs. I am searching for a replacement CD transport. You have the AudioNote. I have considered the CEC TL5n and the Jay's Audio transports. I wonder how they compare as transports as they do make a difference (I compared Cambridge, EAR and DVD players and found wildly different results).
I have an Ear 912 pre, running with a Naim Nap 250 dr amp. I am a bit surprised by some comments here, as the 912 pre weakness, lack of dynamics, and flat sound with the telefunken.
i was searching during 2 years, 10 years ago, a very good tube pre with same quality phono inside, which can work with a Naim amp and have a lot of involvement, dynamics, and some wonderful tubes characteristics.
i run my ear 912 with Nos ECC88 ( not PCC88) Telefunken. I am very pleased with it.
i couldn’t find a better integrated pre/ phono in that level of price better than that. I heard the Convergent SL1 Renaissance, which was very musical but less involving, and without a remote.
Tried a Conrad Johnson ( 8 k euros pre) with the Ev1 phono: nice but too romantic.
The VAC Signature was too expensive for me ( 20k euros). And no dealer in France.
the Nagra Classic pre with Nagra VPS was more expensive vs the Ear 912 and less refined and also less involving , for my ears.
The Lamm LL2 with LP2 was also more expensive and less dynamic.
The Aesthetics Janus ( 9500 euros) was bloomy and too soft.
As standalone pre/ phono really better, there’s the CAT Legend ( but 40 k euros today). The Allnic combo is 3/4 times more expensive vs the Ear. The Dartzeel pre/ phono is 30k ( solid state). The Vac signature with phono is at minimum 20k.
Of course, compared to some state of the art pre with additional phono, the EAR 912 must be very average and flat. But I feel it must be very very difficult to find a better pte/ phono combo for 11k euros today.
perhaps in some years I will replace my Ear 912/ Naim Nap 250 dr with something better. My goal at least.
i heard recently a big Aries Cerat integrated ( 25 k euros) and was very impressed. A 20/ 30 k Vac combo is on my radar too.
i was searching during 2 years, 10 years ago, a very good tube pre with same quality phono inside, which can work with a Naim amp and have a lot of involvement, dynamics, and some wonderful tubes characteristics.
i run my ear 912 with Nos ECC88 ( not PCC88) Telefunken. I am very pleased with it.
i couldn’t find a better integrated pre/ phono in that level of price better than that. I heard the Convergent SL1 Renaissance, which was very musical but less involving, and without a remote.
Tried a Conrad Johnson ( 8 k euros pre) with the Ev1 phono: nice but too romantic.
The VAC Signature was too expensive for me ( 20k euros). And no dealer in France.
the Nagra Classic pre with Nagra VPS was more expensive vs the Ear 912 and less refined and also less involving , for my ears.
The Lamm LL2 with LP2 was also more expensive and less dynamic.
The Aesthetics Janus ( 9500 euros) was bloomy and too soft.
As standalone pre/ phono really better, there’s the CAT Legend ( but 40 k euros today). The Allnic combo is 3/4 times more expensive vs the Ear. The Dartzeel pre/ phono is 30k ( solid state). The Vac signature with phono is at minimum 20k.
Of course, compared to some state of the art pre with additional phono, the EAR 912 must be very average and flat. But I feel it must be very very difficult to find a better pte/ phono combo for 11k euros today.
perhaps in some years I will replace my Ear 912/ Naim Nap 250 dr with something better. My goal at least.
i heard recently a big Aries Cerat integrated ( 25 k euros) and was very impressed. A 20/ 30 k Vac combo is on my radar too.
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I have heard the EAR 912 extensively with classic Mullard tubes rather than Telefunkens. In no way was there weakness, lack of dynamics, and flat sound. On LPs only, it has dynamic, lush and extremely dimension sound with Bryston big amps (14s or 28s?). I suppose the exact tube can be the difference maker here as on my amps, the difference between the driver tube of a 6UG7 RCA and GE is the difference between yuk and wonderful (the latter is 3D, lush, super dynamic and super open versus a closed in, less dynamic, smaller sound from the former). The 6SN7 cathode follower in those amps are also very sensitive to tube choice with Ken-Rad/RCA/Raytheon 40's-50's perfect versus 50's Sylvania Chrome Dome as too thin and bright and USSR 80s tubes-Yuk!
I agree that the Ear 912 hardly lacks dynamics and is all but not flat. At least in the 10k-20k price territory.
i had tested Nos Telefunken PCC88 that I found more in your face and less elegant vs the ECC88.
had tried some Tesla, Phillips, Amperex Orange Logo too.
for now my favourite are the ECC88 Telefunken.
But I want to try next year the Mullard. If I can find a good 5 same batch in great condition.
I enjoyed my EAR912 but it was a far better phono stage than it ever was a preamp - ultimately that's why I sold it.
The LCR phono section was hard to replace and I tried quite a number of quite well-reviewed phono stages that struggled to better it. In the end I went for an Allnic H7000V, and latterly replaced my external SUT - used also with the EAR912 - with the Allnic H5000 head amp. Of course the Allnic phono stage alone is similar in price to the EAR, and the phono-head amp combo is considerably more expensive.
Thankfully, the easy bit to improve on was the linestage, which I think suffers from EAR's stinginess in component selection. I ended up with the latest iteration of Audiopax Model 5 but in fact several linestages I tried including ones from Silvercore and Audio Research (Ref3) bettered it.
So I ended up spending double to get a significant improvement. Incidentally I tried various tubes in it including Telefunken (both in all positions and used partially), with variable results. I don't think tube rolling fundamentally makes much difference with EAR kit.
The LCR phono section was hard to replace and I tried quite a number of quite well-reviewed phono stages that struggled to better it. In the end I went for an Allnic H7000V, and latterly replaced my external SUT - used also with the EAR912 - with the Allnic H5000 head amp. Of course the Allnic phono stage alone is similar in price to the EAR, and the phono-head amp combo is considerably more expensive.
Thankfully, the easy bit to improve on was the linestage, which I think suffers from EAR's stinginess in component selection. I ended up with the latest iteration of Audiopax Model 5 but in fact several linestages I tried including ones from Silvercore and Audio Research (Ref3) bettered it.
So I ended up spending double to get a significant improvement. Incidentally I tried various tubes in it including Telefunken (both in all positions and used partially), with variable results. I don't think tube rolling fundamentally makes much difference with EAR kit.
As you said , the Allnic combo is far more expensive. So it’s difficult to compare. If you compare the Audionote M10 to your Allnic, you will perhaps find the Allnic a bit lacking. However I didn’t heard the 100k M10. Just wondering.
i had a Naim Nap 252 pre before ( 12k pre without a phono) and preferred the Ear.
on some forums, some say the Ear 912 is better vs the Arc Ref 3. ( at that time).
if I can find one day a preamp and phono really better than my 912 for less than 20k, I will jump on it.
What generally excites me about EAR Yoshino, besides the excellent price-performance ratio, is that they are very musical and work without any interference.
No noise, hum or scratching of the volume control. They are designed for decades long working life. Here you can see the handwriting of Tim De Paravincini. He had earlier developed professional equipment for the sound and recording studios.
Now to the 912; for me it is the balancing act to both worlds. Tubes and solid state. Like the EAR Monos 509.
No noise, hum or scratching of the volume control. They are designed for decades long working life. Here you can see the handwriting of Tim De Paravincini. He had earlier developed professional equipment for the sound and recording studios.
Now to the 912; for me it is the balancing act to both worlds. Tubes and solid state. Like the EAR Monos 509.
Still very happy with my 912 since 2007 into 509 anniversary mono blocks.
Very much a fit and forget situation and enjoy the music.
Very much a fit and forget situation and enjoy the music.
I have moved on to my 17 year old, unused EAR 864 paired with the EAR 890. I used Stillpoint Ultra SS under it. I replaced the line tubes with a NOS Mullard CV4004 for a wide frequency response, neutral but full bodied mids and wide dynamic range coupled with a cleartop RCA 12AU7. The phono stage has a D getter old Sylvania 12AX7 in front and double silicone rings on the rear two stock 12AX7s (JJ or Ei?). The line stage sound now has tremendous dynamics, extracts subtle musical cues, deep and wide soundstage and very wide frequency response (no lack of very deep, punchy bass here). Is it possible that it has a better line stage than the EAR 912? As Atkinson reported, he was concerned with the limited overload capabilities of the 912. It only has a stock fuse in it as does the EAR 890. Tried Synergistic Research blue fuses but the difference was too subtle (unlike their power outlets-huge improvements). Strange that those same type fuses made a remarkably huge difference on my large custom monoblocks.
As to the phono section, it sounds very good as is with a Dynavector 20X2L plugged into it versus using another set of phono cables with a Zesto Allesso SUT. It sounds more dynamic directly into the pre-amp which I suppose has inferior transformers to the Zesto but appears to be a perfect impedance match like the Allesso (at 100 ohms/max output).
I have also moved on for a year from the COS Engineering D1v. I found it lacked the body of music and foreshortened depth with my previous gear. Also, one neighbor in a $500K system was using Pangea power cables at the time. He replaced them with 6 GroverHuffman power cables and made a huge difference. I replaced the COS with an extremely modified Benchmark HDR1 (new filter caps, tantalum, power caps, new audio board, $50 audio grade regulators replacing 50 cent computer grade) Arcam Delta 270 CD player and Delta 250 transport with 15+ high quality audio filter, power and bypass capacitors as CD transport. The COS went back in now and has all the warmth and depth it was missing into the EAR system.
So, the sound I am receiving now is high end as indicated by visitors who have 50 years experience in high end audio (retailers and manufacturers). The speaker limitation is mostly in limited seating (imaging best in center seat only), larger ambiance (pending a quadradic diffuser), resolution (although I am hearing the subtlest details and dynamic shading as I've only heard in really expensive systems). The tonality is spot on. Dynamics are superwide. Bass from 6-12" woofers could have more texture but are super deep, comparable to subs.
Two friends and three local retailers told me to try the EAR 912 as it has fabulous sounding phono stage. The last time I heard it, it was tubed with NOS Amperex or Philips 6922 tubes. I read now that ECC88 (6DJ8) Telefunkens sound superior to the PCC88 (7DJ8). Really? I only know the Tele 12AX7s which I prefer not to have in my equipment.
I suppose I will try the 912. It is possible that the 912 limited overload situation doesn't exist on the 864 and/or that the line stage is better on the latter. I intend to upgrade my speakers early next year (hearing Aequo Audio Adamantis and possibly Marten Bird 2 or Parker Quintet 2, can't afford the best, Von Schweikert Ultra 7).
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Hello,
Can you advise me ?
I have an EAR 912 pre amp. I upgraded it with Tunsgram PCC88 nos tubes in the line stage and Mullard PCC 88 nos tubes in the phono stage. I also replaced the signal capacitors with Duelund 0,047uF JDM 600V Pure Silver.
Now the treble is hard and stinging. I have put the original tubes back in with no change.
Could it be the Duelund silver capacitors.
I read a story where an EAR 912 was put in with Jupiter copper foil/paper wax capacitors. Do you have any experience with whether they bring softness to the warmth of the sound.
(I listen to vinyls, Jorma cables, ATC speakers, Ayon power amp)
Can you advise me ?
I have an EAR 912 pre amp. I upgraded it with Tunsgram PCC88 nos tubes in the line stage and Mullard PCC 88 nos tubes in the phono stage. I also replaced the signal capacitors with Duelund 0,047uF JDM 600V Pure Silver.
Now the treble is hard and stinging. I have put the original tubes back in with no change.
Could it be the Duelund silver capacitors.
I read a story where an EAR 912 was put in with Jupiter copper foil/paper wax capacitors. Do you have any experience with whether they bring softness to the warmth of the sound.
(I listen to vinyls, Jorma cables, ATC speakers, Ayon power amp)
Oooooooooooh looks like the coupling caps to me. What were the stock caps? Those are not hard and stinging tubes unless they're counterfeits. I hope that is not the case. Still, caps the big big suspect in your case. IME only
My guess is that the problem are caps.
I first used the original EAR caps, but I wanted a better one.
The tubes are original, not fakes.
I understand that caps can have a long break in period, up to hundreds of hours.
I first used the original EAR caps, but I wanted a better one.
The tubes are original, not fakes.
I understand that caps can have a long break in period, up to hundreds of hours.
Apparently, someone enjoyed upgrading to copper caps rather than silver caps. http://www.troelsgravesen.dk/EAR-868L.htm
This link is to an EAR 868 preamp wherein the coupling caps were replaced with Rike
"The two 33 nF caps in the line stage are as important as the riaa coupling caps. So, I had to dismantle the whole thing again....
47 nF Jupiter copper/paper/wax was ordered like I did for the -912. In this place 33-100 nF goes.I didn't think it would make any major change, but it certainly did. The ability to portray a 3-dimensional sound stage is significantly improved and from my OPUS3 Test record, which I've heard hundreds of times, I heard information I hadn't heard before, like a piano player faintly humming along - something I've never noticed before. This from my Discovery-3WC-mkII speakers. These copper caps, regardless of dielectric material, offers an astonishing improvement in passing spatial information and - as far as can know - improved tonal fidelity."
Hope that helps.
The Gik Q7D quad diffuser placed on the floor front wall between the speakers greatly improved the soundstage. Wow! Wall to wall sound (dependent on recording) on R2R, LP and CD, Wow! This in an already $150K custom built listening room. Took the speakers to another place.
The other great improvement was installing SR purple fuses into the 864 and 890. This should be standard for listening to them as the fuses also elevated the equipment. Those are remarkable fuses and for the doubling of pleasure, $200 (retail) each their worth every penny.
Another great upgrade-excels the SR purple fuse 10X at least. My two best friends and I have installed a Tripplite LC 1800 voltage regulator/line conditioner. It ONLY works in the plug closest to the power cable (and gives much worse sound from the four plugs above-thin, lacking bass, yuk). One has a Luxman CL35 mk3 with Telefunken NOS tubes and the other two (mine included) EAR 864 with different pre-amp NOS tubes (Mullard 4004/RCA clear-top 12AU7/Sylvania D getter 12AX7/RCA clear-top 12AU7). Astounding is the word now on every source from 78s/LPs/R2R/Cassettes/CDs and even the lowly MP3s.
Last week we attended the S.H.O.W. in Costa Mesa, CA. None of the high end systems sounded as good as any of our three systems now. It was the second most disappointing audio show we've attended in 25 years. Four adequate to good sounding rooms, mostly bad sounding rooms from major speakers like Von Schweikert and Raidho, etc. Prana Fidelity had the best room (almost as good as mine) and we missed the Canterbury Tannoy room which another friend said was great.
Last week we attended the S.H.O.W. in Costa Mesa, CA. None of the high end systems sounded as good as any of our three systems now. It was the second most disappointing audio show we've attended in 25 years. Four adequate to good sounding rooms, mostly bad sounding rooms from major speakers like Von Schweikert and Raidho, etc. Prana Fidelity had the best room (almost as good as mine) and we missed the Canterbury Tannoy room which another friend said was great.
How did it go with the new Caps?, are they easy to replace I have new Jupiters in the drawer awaiting!
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