EAR's 834P Sounds as Good as it Looks: A Stereophile Recommended Component
A more glamorous version of EAR's 834p architecture, the 834p Deluxe is simply gorgeous. Featuring an aesthetic upgrade with a heavily chromed 1/4" thick face-plate, uprated chassis mount RCAs, tighter tolerances and a gold plated selector knob, the 834p looks as good as it sounds.
"The EAR 834P is a remarkable piece of work: a reference-quality phono
preamplifier that would feel at home in a system of any price. At its sticker price it's downright obscene. If you treasure analog as I
do, particularly if you're a fan of well-recorded classical works, you
should treat yourself to an audition of the EAR."
– Robert J. Reina, Stereophile
The EAR 834P Deluxe tube phono stage is a classic! There is something truly magical when records are played back through tubes and the 834p Deluxe is one of the most enchanting we've heard. Of course, the 834p Deluxe has the entrancing midrange you'd expect from a tube phono stage, but world-renowned audio designer Tim de Paravicini has designed the 834p Deluxe with incredible extension at both frequency extremes. Taut powerful bass, extended airy highs, the 834p Deluxe does it all at a very fair price!
The 834p Deluxe is Moving Magnet/Moving Coil selectable, with 70dB of gain in the MC setting making it compatible with virtually every MC cartridge on the market. There is nothing as affordable and versatile in a tube phono stage that comes close to the listening pleasure you will receive from this world-class design! The 834p Deluxe is a Music Direct best seller!
The 834p Deluxe uses three 12AX7 tubes to achieve its great sound; these long lasting tubes are easily accessible, allowing more ambitious users to experiment with a wide variety of tubes. With a detachable cord, chassis mount jacks and exceptional build quality, the 834p Deluxe should be on every audiophile's short list of high-performance phono stages.
"Sonically the EAR was without electronic edge or glare, with a non-analytic cast to the proceedings. It tended to focus on the entirety of the music rather than breaking each recording down to its component parts. I find this ability more musically satisfying than components that neglect the forest for the trees. Transient control was very good, with good tracking of the decay of notes. Soundstaging and stereoscopy were believable and non-intrusive...I never found myself squinting with my ears or baffled by any aspect of the musical proceedings. I found noise to be a non-issue also."
– Paul Szabady, Stereo Times