Jaguar is pleased to offer EAR electronics, some of the most musical tube gear in existence. When it comes to high-end tube amplifiers, there are hundreds of brands on the market, many costing much more than EAR. However, at Jaguar we're only interested in amps like EAR or Lamm, which are created by visionary designers and stand above the others as truly unique and special. Numerous available models allow you to select one that's the best match for your system and the sound character you're going for.
324 | The EAR 324 offers the highest level of quality, performance and flexibility. This circuit is fully solid-state (no tubes), which delivers the same lush EAR liquidity, with a higher level of control in the lower and upper ranges, with a vanishingly low noise floor. Moving coil and moving magnet cartridge compatible, with switchable input impedance for both moving coil (MC) and moving magnet (MM) cartridges. Two separate inputs allow easy switching between two turntables (or two arms on one turntable). The MC mode uses a built-in step-up transformer. Input Two is a specialized MM input with switchable resistance and capacitance loading to optimize response from any high quality MM cartridge. All inputs feed into a very low noise, low distortion and high headroom amplifying stage which uses a unique RIAA equalisation scheme to optimize stability and sound quality. Balanced and unbalanced outputs with a low source impedance ensure that any line preamplifier can be comfortably driven through almost any amount of good quality cable. Gain is equivalent to 54dB at 1kHz (1.2V out for 2.5mV in, MM) but can be reduced by 6 or 12dB if needed. Absolute phase is switchable and mono operation can also be selected. The 324 is truly an amazing phono stage of for the dedicated vinyl enthusiast.
EAR (formerly “Esoteric Audio Research”) is the brainchild of Tim de Paravicini, whose name has been associated since the 1970s with electronics of the highest fidelity. De Paravicini’s innovative techniques have not only borne fruit in products for EAR, but in designs for some of the world’s most highly regarded electronics manufacturers. Some of these designs have been continually prized—and sought—by discerning listeners for decades after their introduction.
Tim de Paravicini has also made unique contributions to the world of professional recording and mastering. Users of his tape recording systems, microphones, and other recording technology include performers Pink Floyd and Lenny Kravitz, the Altarus and Water Lily record labels, and renowned recording and mastering engineers like Robert Ludwig, Joe Gastwirt, and James Guthrie. One of the world’s highest-ranked mastering facilities, The Exchange in London, uses two playback systems in which the entire chain--from tape machines and equalizers to cutter amplifiers and monitoring equipment—is EAR-designed and built. Mobile Fidelity Sound Labs uses his LP cutting system, as well as a playback tape deck with his electronics.
EAR amplifiers are unequalled in their ability to deliver a pure rendition of the signal fed into them, free from the colorations and distortions of most amplifiers. Tim de Paravicini has been instrumental in investigating the role of ultrasonic resonances in amplifier circuits and their effect on transient response. He has also undertaken significant original research on the subjective effects of distortion. This research has not only facilitated the interpretation of amplifier measurements, but has shed light upon the correlation between measurements and sound quality. The results are easy to appreciate—EAR amplifiers are among the most accurate amplifiers ever made.