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In Reply to: Re: passive preamp question posted by Chris O on January 22, 2001 at 08:26:34:
First of all, that was an excellent post from Chris O; he did an excellent overview of the whole picture of passives.I just wanted to add a few things. Given the perfect circumstances of proper interconnects, amp sensitivity, and your source's ability to drive the signal to sufficient volume, a passive does offer much in relation to transparency and detail.
What you CAN lose, however, is a bit of the midrange drive and warmth, along with a slight lack of body. Really, it seems to be a tradeoff, depending on mood. I have both passive and active stages. Given the option of a colored, less than transparent, so-so preamp, the passive DOES win out must of the time. It just sounds like the grundge and noise riding along with your signal just vanished.
However, when comparing the passive to an excellent, transparent, dynamic active preamp, the choice becomes far less clear. In fact, I would have to say that after listening to a passive for awhile and inserting a fine active stage, you are almost shocked at the drive and midrange warmth it adds. Indeed, you almost wonder WHY you ever opted to put the passive in! Alas, the same holds true in the reverse...
Personally, I like having both and passives are so inexpensive, that it makes sense to either make or acquire one.
Yet, given the proper resources ($$$), I think an excellent active preamp beats out the passive in full range warmth, drive, body, and even musical detail if really done properly. This seems to especially hold true with a 2A3 SET as the midrange really does nicely with a proper active stage.
I imagine, as I said before, the Laurels might do well with both. One thing you can do, order a passive from one of the online locations that gives you a 30 day return policy (AA). Consider it an extended audition. If you are not happy, simply return it with a bit more education gained in the process.
kh
This has been an issue I have been wrestling with for months. Overall, we tend to like the sense of proportion provided by an active preamp. Extra gain offered to source signals just seems to me to provide a sense of immediacy that a passive control can almost match, but not quite. I have built from scratch 2 (sorry, 2 from scratch, one kit)different active linestages, and all of them sound quite good to me -- especially the Eric Barbour design that uses a single, subminiature tube. For me, the drawback has to do with the extra noise of an additional power supply. Lowthers in horns tend to be extremely sensitive, and if upstream components are less quiet than desireable, the Lowthers will as faithfully amplify hum and buzz as they will music. And please don't even mention the fact that I might need to look at me grounding scheme. Everything (literally) in terms of shielding and SPG (single-point-grounding)has been tried. Lifting the grounds on the active preamp and one amplifier helped but little. So I am now using a passive control/attenuator. I would like to offer this, though, to those who might like to try a passive approach: Ther is NO NEED to BUY an expensive, already built or kit linestage if you want to get the flavor of a passive attenuator. MAKE ONE! They are easy to build. Get some RCA or BNC jacks (I use BNC) from Radio Shack, as well as a couple of 10K or 100k mono pots (I prefer linear to log taper), some cheap hookup wire, a decent little chassis for $6.00 -- some hardwood trim from a co-teacher at school makes mine look more expensive than it is, as well as a selector switch if you want one. With a couple of hour's work, you can see what a passive does for your system. For me, it provides the opportunity to listen to clean, clear music, without the constant frustration of figuring out how to kill some phantom noise of an active linestage, many of which provide far more gain than what many amps need in order to be driven to full output. Make your own interconnects out of inexpensive, low capacitance (mine measure just 16 pfd/ft.) coax with an all copper (not copper clad) center conductor and braided copper shield, and you are ready to listen to good-sounding music for a very reasonable price. After that, then go out and buy expensive volume controls using fixed resistances.I just miss not seeing the extra pair of tubes glow in the dark!
Erik
I have an OBH-12 coming to try out.My big question is how an AN DAC will sound rather than my MSB with a passive.
I have an OBH-12 coming to try out.My big question is how an AN DAC will sound rather than my MSB with a passive.
Great idea trying out the ole little Creek. I got mine on Ebay for less than $200 and it has surely been worth that for the great remote and excellent sound. That being said, I have heard other passive preamps that sounded better but the Creek is a great little unit. You will get a good idea of the stark difference between the Creek and your NAD, which is an OK sounding piece for what it is but surely not on the same level. Ironically enough, I used an old NAD 3150 as a phono preamp running into one of Stan Warren's early Superphon passive units; did really well at the time, especially when you have NO money to spend!
Not sure of your concern with the Audio Note DAC. What is the ouput? Most are around 2v or so and that should be fine. Cant remember if you said what it was or not. My Rega Planet is 2v and puts out plenty of volume for most material, and this with the lowly ProAcs - not your super sensitive Klipsch!
Let us know...
kh
ps - See the pic above of the Creek? Notice the all black face without the bright green "Creek" writing? A simple fix here - Just turn the plate around and put the green mess facing the inside. Took 2 minutes and it looks 100 times better.... like a little custom, black, mystery box. Of course, the sound got 200% better....
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