I don't think you'll find it 'sounds' at all Marco, although I would recommend 'personally' that you keep the interconnects within a couple of metres.
I use a little home made three-input/one output passive preamp and it's incredibly good with amps that I thought should have an active preamp stage driving them. So much so that the HH MOS-FET amp I was given with the LS5/9's has taken on a whole extra layer of delicacy and increased 'emotional connection' that it lacked before with the old AVI preamp driving it (in fairness to the AVI, it prefers several metres of mic cable to remote amps...).
I mention my home-made jobbie because I recently replaced the perfectly worthy 47k pots I was using with the same ones Tisbury use, but in 50k (I had to go on eBay US to find them, but the seller was only too happy to send me a pair to the UK for well under £20). I've since discovered that 10k is fine as well, by the way. No sonic difference between the Chinese attenuators and the film-pots I was using before, but I like the tracking on the first two notches of the attenuators 
Something else, if I may be so bold ('course I am). So many active preamps over the years have been a real bane in the life of 'High Fidelity Audio' in my opinion and experience, the colourations and/or veiling of detail they add to the recipe being quite severe in some revered US models I remember. As far as I can see, a passive preamp, as long as the matching isn't severe, shouldn't add anything at all and definitely shouldn't take anything away - Like others here and elsewhere, it comes as a bit of a shock to start with, but after a while to acclimatise, I'm going to find it very hard to go back to an active preamp (I've a Krell KSA50S coming and in a way, haven't a bleedin' clue what to drive it with, status wise - cough!)
I can't go on and I can't go back, I don't feel so matter of fact,
I tried and tried to make good sense, What's the good to try it all again?