Pass Laboratories XP-22 Line Pre & XP-27 Phono Pre Review

March 25, 2022 § Leave a comment

https://www.enjoythemusic.com/superioraudio/equipment/0322/Pass_Labs_XP22_Line_XP27_Phono_Preamplifier_Review.htm

Regardless, the Pass Labs XP-27 didn’t magically transform this album into a live-in-the-studio recording. Much of the music on this album is the musical equivalent of CGI, yet they had no internet or computers when recording this album. The creativity dripped from the turntable as if it were a half-used candle. The gated reverb on the drums on “Intruder” and “Biko” passed through my body not because the bass frequencies were powerful and infinitely deep, as they shook my gut and the window frames in my listening room. But I mostly mean that they went through me emotionally, as the music on this album disregarded the laws of physics, and my music brain followed suit. Yes, the midrange of the XP-27 was scarily transparent. Even though I’ve been listening to this album all my adult life, I would still lean forward in an attempt to hear every nanosecond of, for example, the reverb trail of Gabriel’s voice on “Biko,” the last track on the LP.

For this album, Peter Gabriel instructed drummers Phil Collins and Jerry Marotta not to use their cymbals on their drum kits. This left space for the treble energy of other instruments. On this cymbal-free album, the XP-27 reproduced the highs as if they were magical, regardless of the instrument, voice, or sound effect it was reproducing.

The treble sounds from every instrument and voice would fill the enormous soundstage with sparkling, reflected sound waves that sonically resembled embers rising from a campfire – the paths of the individual embers presumably random but in actuality determined by air currents.

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