Thanks Elizabeth for responding. I too feel that the GFP-750 is a fine preamp in passive mode and for the money is a bargain. My only serious complaint with the GFP-750 is better described in this excerpt from an online magazine review:
At various listening sessions, my son Marc, a trained musician for both trombone and guitar, (not an audiophile) would join me and add his input. One CD we listened to was Keith Jarretts At The Blue Note: Saturday, June 4, 1994, First Set (ECM1577 78118-21577-2). The trio was beautifully recorded and it became evident that what was missing was the air and extension in the high frequency range, which manifested itself on Jack DeJonettes delicate and varied cymbal work. To paraphrase Marc, it was as if the decay of the cymbals was cut short. In the bypass mode, this was slight but noticeable and to a lesser degree with Keith Jarretts piano. The bass resolution, timbre, and resonance of Gary Peacocks bass playing were right there with no apparent differences in achieving the full body of the instrument.
Through the Adcom, the dynamics of the piano and the full body of the instrument almost matched the direct feed, but that slight loss of full note decay or ambience was just barely noticeable. And I do mean barely. I feel this is still quite an achievement and more an act of omission than addition of coloration or artificiality. Consider also the fact that an additional set of interconnects and connectors are in the chain. This in itself will cause some losses to the sonic protrait.
At various listening sessions, my son Marc, a trained musician for both trombone and guitar, (not an audiophile) would join me and add his input. One CD we listened to was Keith Jarretts At The Blue Note: Saturday, June 4, 1994, First Set (ECM1577 78118-21577-2). The trio was beautifully recorded and it became evident that what was missing was the air and extension in the high frequency range, which manifested itself on Jack DeJonettes delicate and varied cymbal work. To paraphrase Marc, it was as if the decay of the cymbals was cut short. In the bypass mode, this was slight but noticeable and to a lesser degree with Keith Jarretts piano. The bass resolution, timbre, and resonance of Gary Peacocks bass playing were right there with no apparent differences in achieving the full body of the instrument.
Through the Adcom, the dynamics of the piano and the full body of the instrument almost matched the direct feed, but that slight loss of full note decay or ambience was just barely noticeable. And I do mean barely. I feel this is still quite an achievement and more an act of omission than addition of coloration or artificiality. Consider also the fact that an additional set of interconnects and connectors are in the chain. This in itself will cause some losses to the sonic protrait.