There are very few modern designers in the audio field who can claim as much as Tim de Paravicini. No aspect of the recording and reproduction chain has been left untouched, no aspect of circuit design not further researched and developed.
As early as 1965 Tim was involved in custom design work for rock and roll bands; manufacturing his own public address equipment, and modifying existing studio equipment to realise even greater potential.
While working in South Africa, Tim had a chance meeting with representatives of the Lux Corporation, and in 1972 was invited back to Osaka, Japan, and offered a job as audio designer. Tim soon put together some very interesting designs for Lux, including the remarkable C1000/M6000 pre/power amplifier combination.
In 1976 de Paravicini returned to England, and very quickly made an impact as a design consultant, initially working with the ALBA Radio Corporation, and Tangent Loudspeakers. Tim was also responsible for the later ranges of Michealson and Austin tube amplifiers, including the TVA10 and M200 mono blocks. Within a year, he had set up Esoteric Audio Research Ltd., and was marketing the remarkable EAR 509 100 watt professional tube mono block power amplifiers. He developed a unique output transformer/tube interface circuit called “balanced bridge mode”, in which all the electrodes (except the control grids) have their own separate windings on the thirteen-section, biflar wound, output transformer. In addition, the amplifier has no overall feedback, something of a de Paravicini trade mark. Technically this amplifier proved that tubes are capable of performing equally as well as transistors in a laboratory, with a specification that included a power bandwidth of 9-85,000 Hz, -3dB, and also proved that tubes are capable of better things than the “retro” sound some manufacturers look for.
Subjectively the 509 amplifiers were a big hit. Although aimed at the professional market, several Hi-Fi magazines picked up on the 509’s, and compared them to the then State of the Art domestic High End equipment. The fact the 509 beat all of the competition at the time helps explain why the 509 is still in production today.
Tube microphone preamplifiers, tube equalisers, record cutting systems, analogue to digital converters (for CD mastering) plus custom components and servicing for some of the Worlds most famous recording artists. His is most famous in the studio industry for the stunning analogue tube master tape recorders. These units have very special custom designed heads, and are capable of digital levels of signal to noise ratio, with a bandwidth in excess of 8Hz to 80,000Hz!
Throughout the past twenty years, Tim has worked with many different manufacturers. For London based Musical Fidelity, Tim designed the amazing A1, taking the concept of a cut down ‘High End’ audiophile amplifier, the only compromise being the 10 watts output, albeit pure class ‘A’. Other products designed for ‘M.F.’ include the A470/370, P270, Digilog, CD-T, etc.
The EAR 834P phono stage was also introduced, and similar to the ‘859 has proved very popular, offering un-rivalled performance per dollar. The particular speciality being the stunning Moving Coil stage transformers - transformer design being one of Tim de Paravicini’s fortes - unlike most manufacturers, who just buy in ‘off-the-peg’ transformer designs or just specify the most basic requirement to an outside supplier.
A review by What Hi-Fi in November 1998 under the group title of "Ultimate Amplifiers" seems to sum up the de Paravicini magic:
The Yoshino V20 was given five stars and the following comment rounded off the article:
'What E.A.R have done is to create an amp with such style and build quality that it makes most other kit seem as aesthetically pleasing as a baked bean tin. That such style is combined with top quality sonics is cause for celebration.'
EAR / Yoshino by Tim de Paravicini