EAR, why the low profile?

Renie · 5th March 2003

Tim,

I don't hear EAR mentioned often but when I do it's mainly outstanding praise. Are you happy with the market profile?
Also, how do you feel about the "eccentric" design fronts of the units?

Thanks,

Renie

TimdeParavicini · 6th March 2003

Unfortunately I have had a rather low profile in the market place but I have always placed the holy grail of sound before riches and prefer to stay the course than be a meteorite (one hit wonder)
It has been nice to have worked with the best people in the bussines such as Pink Floyd. There has been many poor products and BS in both the pro and consumer audio.
As to style of my products, why do I have to copy and be a me too. I have to be proud to say that I helped the vacuum tube revival both in consumer and the studio side. dont forget back in 1980 tubes were about dead,and people were using some scummy audio that was going backwards in clarity.
Just as back in the late sixties many studios bought Scully multitracks because the were cheap and compared to the Ampex MR70 were about as bad as domestic TEAC's of that time.
Some of the best American and German electronics of the fifties were good in their specs and still hold up very well to this dat. As I say if something is correct how much more correct can you make it?

toledo3 · 6th March 2003

Quote:

Originally posted by TimdeParavicini
...still hold up very well to this dat.

Freudian slip?

TimdeParavicini · 6th March 2003

Well I never pretended to be a good writer. Pehaps that is why my profile is poor. This method of reply does not have spell and or grammar checker. So I will just keep on just the way the thoughts come to mind. Time is such a luxury, As following the procrastination. Some of the best recordings have come out of being against the wall on time and faulty equipment.
Tim

Renie · 6th March 2003

Tim

Thanks for your reply. I expect the internet will in time dramatically increase the awareness of your products. Hopefully your focus on 'substance not spin' will eventually pay off.

Greg Heimbecker · 8th March 2003

nice bit of virtual ink on EAR's room at the CES from the Stereo Times site

Talk about impact! The EAR room was home to what was easily one of the most effortless and dynamic sounding
systems I ran across this year. I was standing outside the room waiting for a colleague to join me when I heard a
Flamingo dancer go into his routine in the room at the top of the stairs. Well, as I got closer and finally entered the
room, I discovered that it was a magical system creating those sounds, and not a gifted Spanish dancer. The room had
unintentionally passed the LIAR test - Listening In Another Room.

It was so real and vigorous sounding that it physically startled Dan Meinwald, who had entered from another adjoining
room during a bit of a lull in the recorded performance. He literally had a "Fight or Flight" start when the dancer resumed
his ferocious stomping and stamping on an obviously wooden dance floor. Man, what didn't this system do right?

The 'table was the ($18,000) air bearing, Townshend Rock Reference Master with a $3,000 Helius Omega tonearm fitted
with a van den Hul Colibri. This arm features a completely new bearing layout, allowing energy to pass from the arm tube
directly to the armboard for dissipation. Damping is achieved via a paddle mounted at the headshell that traces through a
fluid filled, retractable trough that swings in over the record after it is placed on the spindle!

The phono section was Tim de Paravicini's new solid-state $3,600 EAR 324 (which I am listening to as I type) that was
developed from the work done creating the transformer coupled EAR 312 preamp. Amplification was via the $35,000 pair
of simply extraordinary-looking and resolute Paravicini (EAR) M100's, 100 watt, single-ended solid-state monoblocks, also
new from the mind and hand of Tim. I know what you are thinking, was all this solid-state stuff really from tube guy Tim
de Paravicini of EAR? Yes, you read right. And I have to tell you, this gear is simply astonishing.

The EAR room, featuring all solid-state electronics from EAR designer Tim de Paravicini, was another magical room

Finally, as if that weren't enough, the Martin Design Coltrane speaker coupled the rich and authoritative current to the air.
These $40,000 a pair speakers feature a 1 piece carbon-fiber cabinet, a diamond tweeter and ceramic mids and woofers
from Accuton.

I cannot tell you how utterly this system managed to stir me with its ability to recreate dynamic contrasts that approached
real world events and microdynamic shadings as articulate as the lead instrument or voice when recorded as such. Punch
and impact? Oh yeah. What about harmonic color? In Technicolor! Focus? You bet. Coherence? In spades. Body? Like the
musicians and instruments were in the room. Get the picture? This was one mighty fine sounding system, virtual
show-goers. Keep and eye out for the full review of the EAR 324 sometime soon.

I'll never have these sorts of toys with my income... Oh well, back to editing recitals...

Jules · 8th March 2003

What an interesting look into the wild world of high end consumer HFi!

Try that link above!

zowd · 11th March 2003

why, that system couldn't possibly sound good...it has 'just plain wire' attaching all the stuff. Everyone knows that good sound can't travel up a wire. Good sound CAN, however, travel up an interconnect.

Sure, I'm poking fun. But I will readily admit, there is something effervescently sexual about connecting up your boxes using 4" wide silver ribbons.

You can't fault these guys on visual design...the stuff just looks nice.

Tim, do you think the whole audiophile thing is played out, or are there still new frontiers to explore? What do you think about the market for new speaker designs...slipperman has suggested I ply my strengths in that arena, and I'm seriously halfway curious about the possibilities...

zowd

TimdeParavicini · 11th March 2003

I am very appreciative of that wonderful review on the Las Vegas CES show.
There are things that can be thought of to improve Hi-Fi but most of the time many newcomers come along re-inventing the wheel. And it really is just some marketing tricks hope to get rich quick.
As to loudspeakers, many just keep doing the same old thing of 2 way or 3 way boxs of all shapes and sizes with cross-overs out of the same old computor program that is just fashion. The old Quad 57's still after 40 years stand up to being near perfect OK they can only produce 107 dB spl. The original Tannot Golds and the Altec A7s are still pretty amazing. Yamaha NS10s just show how bad 2 way boxes are with poor phase intergrity. hense all the studios end up with near mono to fill the 'hole in the middle'

If you have some really concrete ideas the pursue them and turn the world on it's head.
Tim de P.

Renie · 11th March 2003

Quote:

Originally posted by TimdeParavicini
Yamaha NS10s just show how bad 2 way boxes are with poor phase intergrity. hense all the studios end up with near mono to fill the 'hole in the middle'

Tim de P.

Is their "mono gravity" why they have the reputation for translating well across a range of playback situations?

cram · 11th March 2003

WOAH! I don't even care how it sounds, it's just cool!

Jules · 11th March 2003

One sugar & milk in mine please!

cram · 11th March 2003

Quote:

One sugar & milk in mine please!

LOL! Must be the new Gaggia steam-powered amplifier!

5th March 2003	#1
Renie Lives for gear Join Date: Jun 2002 Location: London UK Posts: 1,777 Thread Starter	EAR, why the low profile? Tim, I don't hear EAR mentioned often but when I do it's mainly outstanding praise. Are you happy with the market profile? Also, how do you feel about the "eccentric" design fronts of the units? Thanks, Renie

6th March 2003	#2
TimdeParavicini Gear interested Join Date: Feb 2003 Location: Cambridge England Posts: 26	Market and eccentricities Unfortunately I have had a rather low profile in the market place but I have always placed the holy grail of sound before riches and prefer to stay the course than be a meteorite (one hit wonder) It has been nice to have worked with the best people in the bussines such as Pink Floyd. There has been many poor products and BS in both the pro and consumer audio. As to style of my products, why do I have to copy and be a me too. I have to be proud to say that I helped the vacuum tube revival both in consumer and the studio side. dont forget back in 1980 tubes were about dead,and people were using some scummy audio that was going backwards in clarity. Just as back in the late sixties many studios bought Scully multitracks because the were cheap and compared to the Ampex MR70 were about as bad as domestic TEAC's of that time. Some of the best American and German electronics of the fifties were good in their specs and still hold up very well to this dat. As I say if something is correct how much more correct can you make it?

6th March 2003	#4
TimdeParavicini Gear interested Join Date: Feb 2003 Location: Cambridge England Posts: 26	dat date Freudian what Well I never pretended to be a good writer. Pehaps that is why my profile is poor. This method of reply does not have spell and or grammar checker. So I will just keep on just the way the thoughts come to mind. Time is such a luxury, As following the procrastination. Some of the best recordings have come out of being against the wall on time and faulty equipment. Tim

6th March 2003	#5
Renie Lives for gear Join Date: Jun 2002 Location: London UK Posts: 1,777 Thread Starter	Re: dat date Freudian what Tim Thanks for your reply. I expect the internet will in time dramatically increase the awareness of your products. Hopefully your focus on 'substance not spin' will eventually pay off.

8th March 2003	#6
Greg Heimbecker Gear addict Join Date: Jun 2002 Location: western edge of the big cornfield Posts: 401	nice bit of virtual ink on EAR's room at the CES from the Stereo Times site Talk about impact! The EAR room was home to what was easily one of the most effortless and dynamic sounding systems I ran across this year. I was standing outside the room waiting for a colleague to join me when I heard a Flamingo dancer go into his routine in the room at the top of the stairs. Well, as I got closer and finally entered the room, I discovered that it was a magical system creating those sounds, and not a gifted Spanish dancer. The room had unintentionally passed the LIAR test - Listening In Another Room. It was so real and vigorous sounding that it physically startled Dan Meinwald, who had entered from another adjoining room during a bit of a lull in the recorded performance. He literally had a "Fight or Flight" start when the dancer resumed his ferocious stomping and stamping on an obviously wooden dance floor. Man, what didn't this system do right? The 'table was the ($18,000) air bearing, Townshend Rock Reference Master with a $3,000 Helius Omega tonearm fitted with a van den Hul Colibri. This arm features a completely new bearing layout, allowing energy to pass from the arm tube directly to the armboard for dissipation. Damping is achieved via a paddle mounted at the headshell that traces through a fluid filled, retractable trough that swings in over the record after it is placed on the spindle! The phono section was Tim de Paravicini's new solid-state $3,600 EAR 324 (which I am listening to as I type) that was developed from the work done creating the transformer coupled EAR 312 preamp. Amplification was via the $35,000 pair of simply extraordinary-looking and resolute Paravicini (EAR) M100's, 100 watt, single-ended solid-state monoblocks, also new from the mind and hand of Tim. I know what you are thinking, was all this solid-state stuff really from tube guy Tim de Paravicini of EAR? Yes, you read right. And I have to tell you, this gear is simply astonishing. The EAR room, featuring all solid-state electronics from EAR designer Tim de Paravicini, was another magical room Finally, as if that weren't enough, the Martin Design Coltrane speaker coupled the rich and authoritative current to the air. These $40,000 a pair speakers feature a 1 piece carbon-fiber cabinet, a diamond tweeter and ceramic mids and woofers from Accuton. I cannot tell you how utterly this system managed to stir me with its ability to recreate dynamic contrasts that approached real world events and microdynamic shadings as articulate as the lead instrument or voice when recorded as such. Punch and impact? Oh yeah. What about harmonic color? In Technicolor! Focus? You bet. Coherence? In spades. Body? Like the musicians and instruments were in the room. Get the picture? This was one mighty fine sounding system, virtual show-goers. Keep and eye out for the full review of the EAR 324 sometime soon. I'll never have these sorts of toys with my income... Oh well, back to editing recitals... Attached Thumbnails

8th March 2003	#7
Jules Gearslutz.com admin Join Date: Apr 2002 Location: A Yank in London, UK Posts: 17,356 1 Review written	What an interesting look into the wild world of high end consumer HFi! Try that link above! __________________ Jules Add your reviews to the new reviews area! Gearslutz on Facebook Follow my GS picks on Twitter

11th March 2003	#8
zowd Gear nut Join Date: Mar 2003 Posts: 84	why, that system couldn't possibly sound good...it has 'just plain wire' attaching all the stuff. Everyone knows that good sound can't travel up a wire. Good sound CAN, however, travel up an interconnect. Sure, I'm poking fun. But I will readily admit, there is something effervescently sexual about connecting up your boxes using 4" wide silver ribbons. You can't fault these guys on visual design...the stuff just looks nice. Tim, do you think the whole audiophile thing is played out, or are there still new frontiers to explore? What do you think about the market for new speaker designs...slipperman has suggested I ply my strengths in that arena, and I'm seriously halfway curious about the possibilities... zowd

11th March 2003	#9
TimdeParavicini Gear interested Join Date: Feb 2003 Location: Cambridge England Posts: 26	Is Home Hi-Fi played out? I am very appreciative of that wonderful review on the Las Vegas CES show. There are things that can be thought of to improve Hi-Fi but most of the time many newcomers come along re-inventing the wheel. And it really is just some marketing tricks hope to get rich quick. As to loudspeakers, many just keep doing the same old thing of 2 way or 3 way boxs of all shapes and sizes with cross-overs out of the same old computor program that is just fashion. The old Quad 57's still after 40 years stand up to being near perfect OK they can only produce 107 dB spl. The original Tannot Golds and the Altec A7s are still pretty amazing. Yamaha NS10s just show how bad 2 way boxes are with poor phase intergrity. hense all the studios end up with near mono to fill the 'hole in the middle' If you have some really concrete ideas the pursue them and turn the world on it's head. Tim de P.

11th March 2003	#11
cram Gear maniac Join Date: Sep 2002 Location: salt lake city Posts: 211	WOAH! I don't even care how it sounds, it's just cool! Attached Thumbnails

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