Metal or Carbon Resistors - Which is better?

Most vintage gear used carbon film, as they were much cheaper over metal film. Then there are carbon comp resistors that are garbage. We're talking about 1/4 and 1/2w that are the majority in all our gear. The 5w and 10w ceramic resistors are a different story.

Almost all new stuff uses metal film as they are basically the same price as carbon now.

carbon film have much more noise over metal, but are a little more warm sounding. In the signal path, metal should be used, most important in high gain, as in a Phono-pre. In the power supply, and other places, carbon are fine to use. Anytime i replace a resistor, it is with metal film. 

Are there even better ones? Of course. But they can get stupid expensive. They really only make since in things like crossovers.

All of those recommended other than Metal or Carbon resistors, appreciate your input. Unfortunately, manufacturer only offers metal or carbon resistor option. I am keeping my options open but all bets are off if I stumble across a Shindo Monbrison or Masseto from the Ken Shindo era. There’s just something undeniably special about Ken’s designs…the harmonic richness, the pacing, the soul.

A 300B amplifier can sound dynamic if it has a properly designed driver circuit.

The 300B tube is much more difficult to drive than 2a3, 45 and px25. It needs more voltage amplitude and current. The interstage transformer or direct coupling cathode follower driver (Ralph's suggested it) is a must. And in case an interstage transformer needs a powerful driver not like 6sn7.I have a DIY 300B amplifier. In the beginning it had a 6f6 driver in triode mode with RC coupling. Then I changed RC to an interstage transformer Hashimoto A-305. The improvement in dynamics, bass and resolution was huge. Like a completely different amplifier. Then I changed the 6f6 driver tube for a more powerful 6v6 and then for an even more powerful 5881 (6L6). Each time a more powerful driver made the sound bigger, more dynamic and improved instrument separation on more complex music.

Alex, 

You raised good points about 300B driver stage design.  Unfortunately, many utilize 12AX7 drivers and no interstage transformers.  Hence, it remains the case that many 300B amps are a bit polite, dynamically speaking, but 300B amps are favored because of their glorious midrange.  

A 300B amplifier can sound dynamic if it has a properly designed driver circuit. The 300B tube is much more difficult to drive than 2a3, 45 and px25.
@alexberger 

Agreed with your assessment. A 300B amp can sound very dynamic, but it all comes down to the driver circuit design (that’s where my last amp failed to deliver despite of more than one revision). The 300B requires significantly more drive than 2A3, 45, or even PX25, and if the circuit can’t deliver sufficient voltage swing with low distortion, the amp can end up sounding soft, distorted or underwhelming. 

A well-designed driver stage especially one with strong current delivery and proper impedance matching makes a world of difference. I’ve heard 300B amps with properly executed driver circuits that were anything but polite…fast, vivid, and emotionally gripping.

I wonder if anyone heard this amp, 

https://fezzaudio.com/en/produkt/fezz-mira-ceti-300b-evolution/