Pass labs x250 vs Classe CA301

I recently upgraded from a CA200 (newer version w/heatsinks on sides) to Pass X250. What it gave me was alot more resoluton & detail, a bit more analytical, but i also upgraded to the Pass X2 pre from AR LS-3 at the same time. I have not heard the CA 301 but know they are huge heavy monsters. I think I remember a post here about the ca200 being better sounding than the 301 sometime ago. I got away from Classe for reliability issues more than sound. good luck.

Two years ago I auditioned both, upgrading from a CA150. I agree with Pehare on the X250. The CA301 sounds warmer, a bit slower and laid back; a matter of taste I guess. I prefered the Pass, but ended up with Spectral DMA-150, because of severe humming problems with the X250 (it later appeared to be a design problem which should be solved in the mean time, but beware!) -- my third choice was the Theta Dreadnought.
Don't forget to include the ARC VT100 III, the best of both worlds, a pity it has a noisy fan... Good luck!
(my system: ARC LS 2 II, Kharma Ceramique 1.1, MIT Ref and Oracle cables).

I own the Pass X-250 and have no humming issues whatsoever and I have never heard of any issue with this amp either. The commenst above are correct regrading the sound of the Classe and Pass except that I do not find the Pass analytical sounding at all. I do notice that since I have been leaving all my components on, the sound is very natural sounding, with great deatails and dynamics. I also recently changed my ICs from AZ Sil Ref rca to XLR form the Pass X-1 to the X-250 so I do not know if this made a difference. The high frequencies are much better leaving the X-250 on all of the time, I would not have thought this but someone told me to try it and it has worked for me.

Happy Listening.

From my limited experience with Pass product (ran a X-250 with X-2 pre and many other pre's) for about 5-weeks, Pass pre and power (or run seperately)are highly resolving, focused, fast, detailed and "clean" sounding whereas Classe 201/301/401 I found to be more organic in its palpability, soundstage dimensionality and sheer musicality.

peter jasz