Do all Passive preamps exhibit this trait

I have been using a Reference Line Preeminance 1A passive preamp for the last two years. I find that recessed treble and listener fatigue comes primarily from poor recordings.

The passive to my ears lets everything through as recorded. It has meant that some CD's sit on the shelf because the recording values suck.

I am using the Adcom gfp-750 with two Classe Dr-15 amps (in bridged mode), Apogee Stage speakers, Marantz SA-1 SACD Player, Krell 300cd player, Herron MM phono stage with VPI Scoutmaster turntable. Cables have been Cardas Golden Reference (very low capacitance) and Nordost Quattro Fil. I've switched between both cables and haven't noticed much difference as it relates to treble extension. There was an online magazine review done which noticed the lack of transient decay when the Adcom was used passively. I suspect that's it's a feature of this preamp which can't be overcome regardless of which cables and components are used. Can anybody confirm this or had a similar complaint with the GFP-750?

I alternate between passive and active preamps and find that the difference is that usually described, active better dynamics, passive more transparency less coloration. But with good equipment the differences are not earthshaking. I am not absolutely positive that I could pass a blind test as to which was playing if I didn't have the other to compare. But one thing is clear, passive gives you more bang for the buck. In Martin Colloms testing the Creek 21 and 22 placed ahead or a lot of Krell, Audio Research, Conrad Johnson, etc active preamps. All this is contingent on your CD player having an output stage that will drive a power amp and a power amp with reasonable input sensitivity. My Meridian 605s only need .5 volts.

Contrary to Clio's advice, if you want to get the most out of a passive your best bet is to match the amp and source for input and output. IOW, the source output should be just barely able to drive the amp to full output.

This will mean that the passive is turned up all the way for full volume. The advantage of this is that passive controls traditionally limit dynamic contrasts and bass impact as you turn the volume down, due to the interaction between the cable, the input of the amp, and the control itself. So to minimize this you will want to set things up so that you are operating the passive at or near full volume.

A properly designed active line stage will be able to control the interconnect cable to a great degree, in fact that is one of the functions of the line section. If done right, the cable will cease to have any serious consequence regardless of its length or construction, but too many active line sections are designed without this in mind, hence a passive can give them a good run for the money. But if the active line stage is designed and built right, no passive made will challenge it.

Ralph,

That was not my experience using the S&B transformers. My setting was about 12 o'clock and it was fine in my system. My amp was .8V sensitivity with high gain and 67k input impedance.

I do agree in principle with what you are saying and the data in the S&B link I provided bears this out. However, it appears that the data also supports that the changes in impedance due to the volume control setting are not that big a deal and I would have to agree based on my experience.