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

AMPLIFIERS
EAR 824 MICROPHONE AMPLIFIER
 EAR825Q
5 Band 2 Channel Equaliser

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 Specifications
Frequency Response controls defected 5Hz - 50kHz ±0.5dB
Gain 0dB
Input Fully Floating Bridging 20kΩ
Output Fully Floating for 600Ω use Source Impedance 60Ω
Distortion = 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 ±12dB
3, Mid Range @ 1.5k, 2k, 3k, 4k, 5kHz ±12dB
4, Treble Range @ 6k, 8k, 10k, 12k, 16kHz ±12dB
5, Treble Shelf @ 3k, 5k, 10k, 20kHz ±12dB
Defeat Switch Power Switch Voltage AC
Power 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, balanced

and floating.
Gain (max) - 20dB
Input and output normal operating level -+4dBm
Maximum output level (1% distortion) -+16dBm linear,
+10dB @ 10 dB compression
Attack time - 0.2 to 0.8ms variable
Release time - 0.3 to 5s variable
Release time (“classical music” setting) - up to 25s for
sustained 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 Gilmour
David Lord (Producer, Peter Gabriel, Icehouse, etc)
Peter Hammil
Mark Linnett (top USA Producer)
Britannia Row Productions (top European PA Co)
Antoine de Castellane (French Producer)