Thanks for your kind words. It took me a while to add all the details to my system page, I believe it serves a good reference point for me and the visitors. I can track what I’ve tried, what’s stayed, and why. When you look back months (or even years) later, it gives context and reminds you of the journey.
Coming back to your post, thanks for sharing all the detail. I can tell you’re really dialed into how each tube shifts the feel of the music, and I love how you describe those listening impressions—it really brings it to life. The Mullards being the ones that let you turn it up and enjoy rather than tolerate says everything; that’s the mark of a keeper. The RCAs sound like a real hidden gem too.
I hear you on the Tannoy vs. Harbeth thing—both special, but in different ways. I have heard on few occasions, they are very capable of conveying same natural honesty, but maybe with a bit more refinement in the midrange.
I’ll definitely share my impressions on the Amperex Bugle Boy’s. From what I’ve read, they’re different flavors from the Mullard and Telefunken. Keeping a back up is a solid plan.
And yes, that mute button—small detail, big satisfaction.
Sounds like you’re in a really happy place with the M4. Honestly, that’s the best part; when a piece just clicks in your system and makes you forget about the gear.
Comparing with the “10x” crowd will be fun, but you might find you’re already right where you need to be. I’m down to the final stretch of my Garrard 301 project — just waiting on the last two critical pieces to arrive. Once it’s complete, the plan is to pair it with a couple of phono stages priced under $20K to really explore if ultra high end phonos are worth the ask.