Description: Three-way dynamic, acoustic-suspension loudspeaker. Drive-units: 10" cone-woofer, 4" midrange, 1" soft-dome tweeter, rear-firing supertweeter (A/III). Crossover frequencies: 300Hz, 2.5kHz, Type A; 275Hz, 2.7kHz, Type A/III. Nominal impedance: 4 ohms. Sensitivity: 86dB/W/m. Frequency response: 24Hz–26kHz ±3dB (Type A/III).
Dimensions: x x 46.5" H by 24" W by 13" D, Type A; 50.5" H by 23.5" W by 14" D, Type A/III. Weight: 97 lbs, Type A. Shipping weight: 295 lbs, Type A/III.
Price: $1370/pair (1978, Type A); $3770/pair in walnut; $3890/pair in…
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Sidebar 2: Specifications
When we last heard from Englishman Tim de Paravicini, whose EAR 890 amp I reviewed in Stereophile's April 2004 issue, the veteran audio designer suggested that he could make a transistor amplifier equal in performance to any of his successful tube designs. Whatever else it may be, the new EAR 324 is my first chance to test that claim: a stereo phono preamplifier without a single tube in sight. It isn't TdP's first all-solid-state product: That would be the line-plus-phono EAR 312 preamplifier, introduced to no small fanfare a little over three years ago. For all intents and purposes, the…
Listening
The EAR 324 is so flexible, with so many choices of inputs and settings, and with provisions for accommodating so many different phono cartridges, that any reviewer could easily blow 3000 words just describing its sound in every reasonable combination. Instead, I'll start by giving you a general sense of what the 324 sounded like in my system.
The EAR 324 is so flexible, with so many choices of inputs and settings, and with provisions for accommodating so many different phono cartridges, that any reviewer could easily blow 3000 words just describing its sound in every reasonable combination. Instead, I'll start by giving you a general sense of what the 324 sounded like in my system.
First and foremost, it had what I think of as an organic, as distinct from artificial, presentation. Its ability to let the music flow in an unmechanical way, and to let the sound breathe in and out naturally, was at least the equal…
Permutations & Combinations
Rather than waxing all techno-philosophical, I decided to tackle something knowable: How would the different cartridges in my collection fare with the EAR 324, and what combinations of settings would work best for each? Here's what I've learned so far:
Rather than waxing all techno-philosophical, I decided to tackle something knowable: How would the different cartridges in my collection fare with the EAR 324, and what combinations of settings would work best for each? Here's what I've learned so far:
• Tubaphon TU3: As suggested, this one sounded best driving either the 15 ohm or 40 ohm primaries. The Tubaphon is somewhat warmish—not as warm as an old Supex or Koetsu, mind, just slightly and pleasantly thick—and the EAR preserved that characteristic, while still honoring the timing and pitch…
Sidebar 1: Specifications
Description: Solid-state phono preamplifier. Input impedance: switchable between 4 and 40 ohms (moving-coil), 15k and 100k ohms (moving-magnet). Output impedance: 60 ohms. Gain: 54dB maximum. Input sensitivity: 2.5mV (moving-magnet). Signal/noise ratio: 68dB ref. 2.5mV input. RIAA accuracy: <0.3dB. Channel balance: <0.2dB. THD: 0.2%.
Dimensions: 12.7" W by 4" H by 10.5" D. Weight: 11 lbs.
Serial number of unit reviewed: 02521001.
Price: $3995. Approximate number of dealers: 24.
Manufacturer: Esoteric Audio Research/Yoshino Ltd., Coombe Grove…
Sidebar 2: Associated Equipment
Analog sources: Linn LP12 turntable, Naim Armageddon power supply, Naim Aro tonearm; Rega Planar 3 turntable, Rega RB-300 tonearm; Tubaphon TU3, Lyra Helikon Mono, Miyabi 47, Linn Adikt, Linn Akiva phono cartridges.
Preamplification: Audio Note AN-S2, Tamura TKS-83 step-up transformers; Linn Linto phono preamplifier; Fi, Audio Note M2 preamplifiers.
Power amplifiers: Audio Note Kit One, EAR 890.
Loudspeakers: Quad ESL-989.
Cables: Interconnect: Audio Note AN-Vx, DNM solid-core, Nordost Valhalla, homemades. Speaker: Nordost Valhalla, Audio Note…
Sidebar 3: Measurements
The EAR 324's gain in MM mode was a little lower than specified, at 50.6dB at 1kHz from both inputs, and was the same in both balanced and unbalanced output modes. The "-6dB" and "-12dB" settings reduced the gain by exactly those amounts. Switching in the MC transformer set to its "40 ohm" winding added another 19.5dB of gain, which will make the 324 suitable for use with low-output MC cartridges, particularly as its signal/noise ratios are respectably high: 82dB for the MM input (ref. 5mV input at 1kHz), 79dB for the MC input (ref. 0.5mV input at 1kHz). Both…
When I decided to write a piece on the subject of concert-hall acoustics, I realized that almost all discussion concerning this topic is based on the viewpoint of the listener in the audience. While this is important (since the primary purpose of any hall is to bring audience and performance together), the criteria that musicians employ in concert-hall evaluation address sonic parameters that are probably not obvious to the casual listener, and may often be at odds with conclusions reached from the other side of the footlights. Some readers might feel that any discussion of concert halls has…
The fourth, and final, requirement is similar to what one should expect of a good full-range loudspeaker. Just as with audio components, concert halls have colorations, resonant frequency suckouts and spikes, and overload points. The ideal hall would have a completely neutral tonal balance, with an even frequency response throughout the complete musical spectrum. Every hall has a specific set of tonal characteristics which the performing artist must complement (similar to matching components within any system), and most musicians prefer theatres with colorations that enhance the musical…
Musikvereinsaal, Vienna:
The Musikvereinsaal is undoubtedly the most colored-sounding hall to be discussed in this article, but the glow of the sound that comes off the stage is alluring and captivating. Although the overall texture is clear and transparent, the excessive warmth gives everything a complimentary quality that musicians just love . . . even if it isn't accurate.
The Musikvereinsaal is undoubtedly the most colored-sounding hall to be discussed in this article, but the glow of the sound that comes off the stage is alluring and captivating. Although the overall texture is clear and transparent, the excessive warmth gives everything a complimentary quality that musicians just love . . . even if it isn't accurate.
At first, the uninitiated performer feels somewhat isolated (you can really hear yourself in this place), and usually tends to underplay, in order to "feel" the hall and mesh with the rest of the ensemble. I…