Modern Linestages

Grannyring, years ago we had to face the issue of 'what is reference?' To that end we came to the conclusion that no media could be trusted as it all has flaws as you mention.

So we used direct microphone feeds. What we found with microphones running direct is that they can be so real that you can be easily fooled by the result of playing them, as long as the speakers are not in the same room as the mic!

We found that the media (tape, LP, CD and other digital formats) is source of the greatest degradation. Nevertheless I have found that it is very useful to have an LP of a recording that I have made and that I was there for, so when I hear the playback I have some idea of how it was really supposed to sound. At any rate its been my experience over the years to keep the processing of the playback as minimalist as possible, so long as that minimalism does not compromise the playback.

Its a tricky path to follow. But I have found that by doing that and also avoiding synergistic effects that I have the most success approaching the original- and mind you, it is not possible to get to the original music no matter how hard we can try, but OTOH getting to the original **recording** of that event is much more within our collective grasp.

To that end I have found a good line stage to be indispensable if you want to capture all the nuance in the recording. This allows the signal to arrive at the amplifiers without any contribution or editorial from the interconnect cables.

Atma,

Yes, I so understand your post. Yes, it seems the digital medium may in fact be a great source of lost fidelity. There are different roads to the same end and perhaps different experiences based on each of our own perceptions of what fidelity really sounds like.

Charles1dad ,you are correct.The active camp is passive (pun intended)in their posts.
I should mention that I not only prefer actives but I much prefer tubes as well
But then I also prefer vanilla over chocolate so I expect to be told I'm wrong on that too.
I've followed and enjoyed your posts,

Ralph, are you saying that in most cases, the "damage" caused by an IC is greater than the damage caused by active circuitry in a line stage whose primary purpose is to control interconnects?

Interestingly, I have both George's Lightspeed and your LineStage - they both sound excellent, but they are driving different amps ( the M60s with your MP3). With my other amp, the manufacturer said no active preamp would sound better than a high quality attenuator, which I always found interesting in that he is more than capable of designing a SOTA preamp, he just does not believe in them. This really seems beyond debate or proof, just try it and see what you like - it will not be resolved here:) You just have to be more attentive setting up a passive system.

"08-25-11: Liguy: The perfect linestage can be imagined as simply a wire with gain. If you do not need gain a passive preamp will do. So, you ask what about matching impedances? Well a simple buffer can be used. Enter the First Watt B1, a passive volume control with buffer. The buffer makes the passive preamp more versatile because the impedance issue is handled by the buffer. Expensive? Not in the least and very good sounding. Here is Nelson Pass's thoughts:Liguy"

Nelson Pass first designed that buffer for my Lightspeed Attenuator (passive attenuator) in early 2008 on "diyaudio" forums, it was so the Lightspeed could drive some of his very low input impedance amps that were 10k-30k input impedance that he and others were making. With his/others amps that are 47k and over there was no need for the buffer as the best sounding buffer was no buffer.

Cheers George