Tim De Paravicini to Debut Loudspeakers at RMAF!

Good news as I bet an EAR system will be sweet.

http://www.positive-feedback.com/Issue32/ear.htm

 

No De Paravicini Fans? He built David Gilmour's recording gear.

 

I don't know if I can call myself a fan but I do own and have owned his gear over the years.

 

he doesn't charge $500,000,000 for his products, hence the elite audio press doesn't care about him...

otherwise, he is a true genius, not just in all things audio...

 

His new magnetic platter turntable just won a 2007 Golden Ear from TAS.

Equally impressive is his mastering work. I've been listening to some Chesky LPs he did and they sound amazing.

 

yeah, except Harry decided to rant in form of "fine print" about superflous issues which are non-issues.

 

What are you talking about? Can you translate please?

 

I think one of the reasons "the press" isn't that interested in him is because he makes fairly outlandish claims, says that he has designed "proprietary circuits" that no one else has, talks about things in quasi scientific terms and then won't let anyone review his gear. (and I don't mean us...)

His gear is decent, it's just not head and shoulders beyond anything else in existance. Just because hes designed a few recording consoles doesn't mean he can design a phono preamp, etc.

You don't see audio research or conrad johnson building pro audio gear do you? The only one that's ever been able to do it successfully has been Manley...

 

He also has a reputation for having a nasty temper, and has probably alienated a good chunk of the industry. As far as the audio press ignoring him, however, well that's just not true...Art Dudley has been a big fan for years, and uses an EAR phono preamp as a reference.

 

nasty temper is an understatement. I've seen that guy really come unglued at CES... Not fun if you are the brunt of the anger display!

 

Since when has "quasi scientific" troubled the hifi community? I'm not sure how having a temper translates to being a poor designer? Seems like he gave you a spanking at one time?

I recall many accolades written about his stuff. Nary a negative. His stuff is the reference for a few of the Positive-Feedback guys. There are a few at Stereophile who love his stuff.

I had a Procol Harum mono 45rpm he did and it was outstanding.

 

sorry, couldn't disagree more - particularly as the publisher of Tone audio you ought to do a bit more research before you speak "as a matter of fact":

1. he does and has developed proprietory electronics that no one else seems to be able to copy, decypher or otherwise do much with
2. I guess you really have no clue what it takes to design a proper recording console
3. he has designed reference phono amps long before most others caught onto the train - just as an example, his stepup trannies are world-renowned
4. what AR's or CJ's marketing & manufacturing policies have to do with Tim d.P. is beyond me - Tim's pro gear is highly sought after precisley because it is considered the best and finest in the world. People may not agree with his personality, but put that aside when they need to depend on equipment that is leaps and bounds ahead of the rest.
5. when it comes to analog tape he is perhaps among a handful of public people that truly understand it - case in point, his modified Technics 1500, which with his custom electronics and stock heads does 5-40k, 80db s/n
6. look at the DiscMaster 'table - truly an original design that is unlike anything out there. How many 'tables can you say that of these days?
7. he has the brains and knowledge to back every claim he makes
8. he doesn't care to play the game that's gotten a hold of the elitist audiophilia, ie. mine is bigger then yours, mine sells for a gazillion dollars more then yours, and all that nonsense BS.
9. when you get to know him, he is a great person to be around.

anyway...

 

He tends to be popular over here and he's done some work with World Audio Designs, the kit offshoot from Hifi World magazine.The Brits like an eccentric I guess.
One of his claims to fame is designing a part tubed stereo decoder for the Leak Troughline series of tube tuners.

 

This is my understanding as well. His pro recording work is highly respected.

His gear has also been very well reviewed in TAS, Stereophile and Positive Feedback and several online journals. Not sure there is a strong case he won't let people review his products.

 

If you were a reviewer, would you want to review a product knowing that if you leveled the slightest criticism at it, the designer would go completely ballistic? I don't think it's about LETTING people review his products.

 

A lot, actually.

 

alright... go ahead, list'em... I'm really curious...

 

The Ear - Yoshino 834T amp is a really good one

The Ear-Yoshino 834T 100W integrated is a very, very good amp. It is using Mos-fets and output transformers. I was using it right after I sold my Audio Note Kageki and it has given as much pleasure as the AN, however on a totally different way.

 

How about the Continuum, for starters?

How about that new direct-drive from Teres?

How about the Rockport Sirius?

SpJ?

How about Nottingham's use of really small motors?

That's five right of the top of my head.

 

not sure what's so truly special about any of these:

Continuum - what about it? Besides its 100k - get real please.
Teres DD - what about it? DirectDrive's been there and done that 30+ years ago
Rockport - what about it? Besides, no longer available and also 75+k
SPJ - what about it? Magnetic platter - acrylic -anything else?
Nottingham - what about it?

seriously, there is nothing aboslutley astoundingly innovative on any of these.

Tim's DiscMaster is very much different and moderatley priced for all its innovative technology.

 

All due respect but the EAR table is'nt that far off the Clearaudio magnetic bearing design. Tim drives a subplatter with a rubber belt which in turn rotates the platter which is levitated by opposing magnets.
According to the EAR website," A low-noise motor, controlled by a carefully optimised servo loop (been done by many manufacturers), drives a sub-platter via a toothed belt. (No big deal there, still uses a rubber belt)This immediately eliminates slip and ensures that speed is absolutely controlled. The sub-platter drives the main platter via a clever arrangement of opposing magnets.(not that big a deal either) Again, this cannot slip, but it allows just enough compliance to filter out any remaining vibration from the motor and belt, whilst applying a fully symmetric driving force."

I like what I see in his design but it's not really that "cutting edge" either.

 

hehehe... not far off a Clearaudio magnetic bearing... oki doki.

I'll leave it at that.

FYI - the actual bearing mechanism that Tim uses has never been used before in any record player.

 

I realize that but he has simply taken the opposing magnet idea and levitated the platter instead of the bearing. If I am missing something here please feel free to explain in detail where I'm in the dark. You haven't offered any explanation as to the design at all, merely throwing praise around as far as I can tell.

 

Hmmm...the Teres and Rockport went to extreme lengths to solve many of the problems of existing DD designs and come it with a completely new approach. And let me get this straight...just because a turntable is no longer made, it can't be included? What kind of nonsense is that?

And anyone who looks at an SpJ and says it's just like other turntables must be blind.

And Nottingham came up with idea to use a motor that's just powerful enough to keep the platter spinning, but not actually to get it started. The bigger the motor, the more vibration. The Nottinghams are the only 'tables I can think of that you have to manually spin to get going. Pretty unique, I'd say.

And the Continuum used computer modeling to come up with a tonearm shape that looks like nothing else out there.

Your hyperbole about the DiscMaster is pretty unconvincing. You on the payroll?