A question about tube rolling


Hi Ya’all,

At the ripe old age of 70, I have discovered tube rolling.

Up until now, I have simply been about getting good tubes, say Telefunken or GE or Siemens, stick ‘em in there, and phougheadaboudit

I bought a Pro-ject Tube Box DS2 because I just wasn’t getting what I thought I should be getting out of my Koetsu Onyx and Leopard from my Beard P505.

Out of the box (pun unintended), the Tube Box made an immediate improvement.

But, still not quite there. I looked at the tubes and they were unbranded. So I went shopping on eBay and found a pair of Telefunken red tips for $280.

It turns out that the seller lived a half hour away, and so he drove them over to me.

it also turns out that he had 10,000+ tubes - or so he says - in his basement. So he comes with the set that I paid for, and three other sets, and he leaves them with me.

As some of you know, I’m a cheap rat bastard who refuses to spend more than $0.50 on lamp wire for my speaker cable (ok I lied, I do have Monster cable). So even though he explains that he’s got exotic Valvos and Teslas and who knows what else, costing up to $1,900 a pair, I stick to a $500 ceiling ‘cause … I’m a cheap rat bastard … and there’s also that law of diminishing returns sorta thing.

A week later, he brings me four more sets.

One of those sets cost $800. And they sound, well better (although there was a situation where a $50 tube that he brought for me to put in one of the line stages of the Beard sounded better than the $250 one.).

I have listening sessions once a week, so I got my guests involved one evening. I used David Crosby’s “Laughing” from “If Only I Could Remember My Name” and we listened to it over and over, with each of the four sets of tubes, and I explained to them what to listen for in the bass guitar line, the pedal steel at the top, Crosby’s voice, the chorus (and particularly if Joni Mitchell’s and Steven Stills voice were distinctly recognizable as THEIR voices, with nuanced inflection, not just voices separated out but not of any distinct characterization), the acoustic depth and colorations around each voice and instrument, if everything was planted in a specific location on the soundstage, and last but not least, the size - width, breadth and height - of the stage. Then I asked them to pick the set that they liked best and to explain why, according to each of the parameters.

They had so much fun doing that, that going forward I will be keeping tubes of different signatures just to do these exercises with new guests, as they volunteered after the listening sessions that they felt that they learned to hear in a way that they never considered before.

Which was exactly the point of the exercise.

But I digress.

The tube guy said he had some more tubes to try out.

This time I say “Ok. Hit me with your best shot. Throw the very best pair of tubes you have at me. Just sock-it-to-me! (There I just dated myself). And just don’t tell me what they cost!”

So he comes with five sets. Some are really interesting, they have … getters? And one is that best shot. And one is a set that he says are a little weird but he thinks that they will work.

So, up until now, I have been able to hear differences in each set. And some are better, some worse, some do some things better, some do other things better, some are just different.

Of the five, I just go straight for that best shot.

Holy. Efffing. Crap.

Let me say that again, for effect.

Holy. Effing. Crap.

I had thought that my system was up there. And, well, it is: one can say that it is detailed, precise, deep, exciting, dramatic.

This is now… I guess the words I would use are true, and honest…and effortless. Whatever it is, it’s a whole other level.

I did not think that just one pair of 12AX7s or ECC83s could make such a humongous difference.

They are from 1957, and cost twice as much as the Tube Box that they are going in

So, the question is …. There was to be a question, remember? It says so right up there at the top, in the subject line. The question is: I guess I know the answer. Let me put it this way: has anyone had a similar nirvana-like experience just from upgrading tubes, and should I be paying these kinds of prices for them?

128x128unreceivedogma

Tubes are a commodity and are subject to supply and demand and of course, greed!  They have become a buyer beware market item, so unless you see the tubes on the testing machine, I’d stick with trusted dealers like Brent Jesse.

All the best.

@mulveling 

re: Pass Labs Xono, XP-15

It is solid state. 

I tried three Graham Slee products. I did not like them for two reasons:

- the sound was “flat”, not holographic. 
- they were not flexible. With the Pro-ject, I can “dial in” the cartridge. The setting is different for each one: 50 for the Onyx, 75-100 for the Leopard (still trying to nail this one down), and 25 for the rosewood signature. 

There are SO MANY good phono options under $2K.

You can get a Pass Xono for well under $1500, the PS Audio Stellia is recommended a lot a goes under $2K used (though I haven’t heard this one). You could even just get a Bob’s Devices Sky or CineMag 1254 SUT box to cover the MC gain with your existing ProJect in MM mode, and that would make a huge change in sound and you could still tube-roll. These CineMags sound GREAT with Koetsu. Rogue Ares Magnum is a halfway decent tube phono with the 1254 SUT built in, and you have even more tube rollong options there (12AX7 and 12AU7). Trumpet MC is only 1300 new and lots of tubes (4x 12AX7, 2x 12AU7)! I’ve even used it with a Coralstone diamond.

Anyways, to point of your original question, biggets wow / nirvana moments I’ve had with subs of same-tube type are:

  • Mazda silver plate 12AX7 - love these, incredibly dynamic and detailed with sweet mids, although a little bright. Like a super-charged Telefunken ribbed plate, with sweeter mids too. Sometimes under Cifte or Belvu labels. Hard to find. Avoid the Mazda / Cifte 5751, those are bright as hell. Like you, I find Mullards nice but nothing that sticks around in my tube slots for long.
  • Tung-Sol round plate, black glass 6SN7GT
    Of course - these are either the best thing since sliced bread or the most overrated tube of all time depending on whom you ask. Just a great, all-around musical tube in my mind. Seems to give you "more" of everything, somehow - bass, midrange, treble. I remember reading a quote about these by an old tube seller: "If you can’t find the music with these, it’s not the tube’s fault!". I agree.

Yes, I’ve paid good money for my reserves of both of these tubes (plus many others I’m fond of)! Then I’ve heard lots of really big differences by swapping similar-but-different tube types - but that might be considered "cheating" and sometimes you will definitely be changing the parameters and "sound" of the amp. Like 12BH7 for 12AU7, KT120 for KT88 (or vice versa). Had an old headphone amp with tube 3 slots - 1 input and 2 outputs - where you could swap almost anything with adapaters. It originally shipped with all 6SN7, but we quickly found it sounded far better with 5687 outputs (lower output impedance), and then later with 6BL7GTA or 6BX7GT. On the input slot a 2C51 (w/ adapter) was found to be much better than 6SN7, and then Western Electric 396A was the best of all. Boy, that was a lot of fun back then.

Yep - bought a pair of Western Electric 300B tubes for my headphone amp to replace the Gold Lions, and they made it sound like an amp farther up the product line from the original, but there is nothing farther up the product line. At about $1200/pair, they were well worth it to me.