Pass Then vs. Pass Now


Hi 'Goners. 

Long time lurker, first time poster hoping to receive some wisdom from the community. Thinking about an upgrade (aren't we all?) Currently powering Devore Gibbon 3xl with a Rogue Audio Sphinx v3 and am inclined to try out some class A solid state amplification. I was a long time happy owner of a little Adcom GFA535. (I bought it in college in '88 and just let go of it two years ago!) That got me interested in trying out another Pass design. I have been weighing a Threshold400A vs. an XA30.8

Anyone have experience with Devore Gibbons and either of those amps, or thoughts on whether the newer PASS is worth triple the going price of the vintage  piece?

Open to any other suggestions on where to go from here with the system as well. For discussion, I  live in an apartment and use it almost exclusively for vinyl. I am a musical omnivore. The front end is a Clearaudio Performance DC with Tracer tonearm and Hana SL running through a Pro-Ject Tube Box DS2. If I upgrade the amp I plan to continue to use the tube pre in the Rogue Audio integrated, for now. 

Thank you in advance for your input. Your time is much appreciated.

Shawn

theschwartz

Showing 13 responses by audphile1

@theschwartz yup ARC with Pass is excellent, you can’t go wrong. Take it one step at a time. Upgrade as time and budget allows you to do so but getting the amp first is the right move. 

I don’t have your speakers but I did have Adcom 555 and 5802 with B&Ws and Dynaudios and Martin Logans. While I enjoyed these amplifiers, my Pass Labs XA30.8 is in a completely different league.

Oh and I also had Rogue RP-1 and RP-5 with Rogue ST100 amp. The XA-30.8 is what I moved up to. 

Threshold Is without a doubt a good amp. Problem with vintage amps is if you need parts replaced. Those oil can capacitors, other parts. Are these amps even supported today? Shipping that amp for a repair will cost a few bucks as well.
This alone can bridge the price gap. This is all not factoring into the equation that the new XA design takes advantage of modern technology, years of lessons learned and readily available parts and awesome Pass customer service. 

Seek out a Pass XP-12 preamp in the future if you land the XA30.8. Keeping the synergy between components is very important. 

@4krowme you had me at the Pass kit to Krell comparison. 
 

 I am not saying that any one of these products sound good or bad, but I am just as interested in the build quality as the sound. I know, a rare combination.

You clearly have internet because you posted here…so Google is your friend…or whatever search engine you prefer. 

@4krowme Hey not trying to prove anything here. Just found your comparison and comments odd and baseless. And they still are. Have a nice day. 

Agreed with @lucky_doggg7 - you unleash full potential when you pair a pass amp with a pass preamp. When I bought my XA30.8 I was driving it initially with the Rogue RP-5 (previously mated with ST100). Replacing the RP-5 with Pass XP-12 took my system to another level. 
Back when I had my X250.5 I used Audio Research LS-25 and Ref1 preamps with it. I recall it sounded really nice albeit having a slightly higher noise floor than the solid state combo I’m running now. 

It’s really amazing that a designer of that caliber would contribute so much to the DIY community. Pass’ love and passion is what drives him and that’s why Pass Labs have been producing such fine audio equipment and have one of, if not the best, customer service in the industry. 
 

But this is a thread where a question was raised about vintage Threshold vs. modern Pass Labs XA30.8.
Comparing Pass kits built by a DIYer to commercially produced amplifiers from other manufacturers is misleading and irrelevant to this discussion. It also won’t help the OP or anyone reading this thread now or in the future. 

My experience with Rogue RP-1, RP-5 and ST-100 was similar - the sound would open up at higher listening levels. At lower volume it sounded a bit dry, less vibrant, less detailed and more restricted.
With Pass gear you get way more of what’s on the recording at lower volumes. Going up in volume gets you bigger images and more expansive soundstage.
My preference for the sound is to be close to optimal at around 80db measured in a listening chair. If you get extreme resolution at much lower levels in most situations it means at higher volumes you just won’t last long before the fatigue sets in and you want to shut it all down. That’s just the nature of the beast. So be careful there…try to strike that balance.