CD direct to amp vs active preamp

I can see and understand both platforms when it comes to the active vs passive debate.

As to passive's or unity gain designs, you will still have colouration due to internal wiring, signal degradation and loss from passing through various components and contacts, be subject to loading problems, etc...

Active has all of the same problems but can increase gain and alleviate many of the loading problems. The key is to find an active unit that alters the signal as little as possible while passing on all of the benefits.

As to a unit that uses a remote control, how much noise do you think is internally generated from the drive motor that rotates the potentiometer, the infra-red or rf based sensor circuitry, the power supply to feed the motor and remote sensors, etc ???? You might as well "go active" as you've got almost as much "junk" within the box. Sean
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Well, here I go with my 2 cents... I have a complete Cello system (Mark Levinson's last "cost no object" company that went out of business and is now being resurrected). Instead of using an active preamp, Cello or otherwise, I use a Cello passive attenuator called an "Etude". The unit has 4 selectable inputs to one output (all RCA). The attenuator (volume control) is the same hand-wound 60 position dial as found on their $20,000 Audio Palette. With the exception of the Audio Pallette, I have not heard any active preamp that I like better than the Etude, and I have tried quite a few! To my ear, active preamps always seem to put a veil over the speakers. The passive attenuator adds no coloration nor removes anything from the music. Providing you have sufficient gain comming out of your D/A (or whatever source you are using) and impediance is not an issue, passive gets my vote! Ken G.

I know one of Cello's biggest clients is none other than Kenny G....

sean

nice comments

sean wrote - "Between the lack of gain and loading problems, this might account for the majority of "lacking dynamics / tonal & timbre mismatch" situations mentioned. After all, if introducing a preamp into the system makes it sound "better", you have either corrected the above mentioned deficiencies OR added colouration to the amplification chain that is more to your liking."

many purists would like to point a finger at preamps as adding to the signal. I for one think a very neutral dynamic preamp is the single most important piece in the system, maybe baring speakers. My own preamp upgrades have been significant, and made th emusic more involving and dynamic. Are we dealing with colorations? I tend to go as tonally balanced as possible and key into acoustic instruments - pianos, acoustic guitars, sax. Knowing the tonal qualities of guitar and piano from playing them, if something doesn't sound right, I don't want it in my path.

That said I think many blame the preamp for coloring the signal but then buy a power amp with it's own colorations.

I haven't gotten the tube power amp bug, and don't want to go there. A neutral tube preamp and a well done solid state power amp is a good combo in my book.

I sometimes record discs to my nak tape deck straight from the source and it never has the depth or detail it has compared to running the source through the preamp. Cheaper volume controls and less regulated power supplies don't quite cut it, subtle, but give me my preamp anytime

tom