What's the best 6NS7 tube you have tried in your Atma-Sphere MP-3 preamp?


Which 6SN7 tubes have you tried and which one was your favorite?

Also, what's the best place to buy it?  Best service and best price?

hifinut51

Showing 4 responses by revinylized

This thread has been quiet for a while now. It's very difficult to just say which tubes you should use in an MP-3. But I've experimented extensively with 6SN7 tubes in a friend's MP-3, and even more so in my own MP-1 (the latest version with three 6SN7s per channel) and MA-1. In my opinion, there are no "best tubes," and it all depends on musical preference, the overall audio setup, acoustics, and whether you prefer high engagement or a more laid-back presentation.

Furthermore, many manufacturers have produced various versions that, in some cases, offer significant differences in sound, spaciousness, engagement, etc. My focus is on the GT tubes because I generally don't consider the later GTA/GTB tubes to be the best audio tubes, but take that comment with a grain of salt. Of course, I haven't heard everything, and I'm happy to be surprised by the opposite.

I'll start with a tube that I find particularly beautiful in certain positions: the Russian Melz 6H8C. Melz has produced non-holed, holed, and holed anodes with an additional metal support. All versions are fantastic, in my opinion, but you have to be very careful about which combinations you make with them. The holed version combines beautifully in the second position with my favorite musical Sylvania GT Bottom Getter in the first position (viewed from the front) in the preamp. It's as if the Sylvania gets a shot of nitroglycerin. You retain the many advantages of the Sylvania combined with the warm and full sound of this Melz. Incidentally, I find that too cool in my setup, so I use a particularly warm tube in the third position, such as the RCA gray/black fully coated version from '40 (first version). For me, this provides a nice balance as a starting position for the MA-1. In my MA-1, a Linlai E on the left rear works wonders. If you're looking for engagement, this is a really great tube. This tube simply does a lot well, at least that's my opinion. I thought I'd never say that about a new production tube. (Ralph, thanks for the tip). In the MP-1, I couldn't get the Linlai to work properly, but that might just be me. Back to the Melz; don't think for a moment that the Melz-hole version would be suitable on the right rear for the same trick as in the MP-1. This combination really produces too much bloom in the midrange/low end, completely destroying the transparency and detail. This combination isn't a 1+1=2. A Melz '50 (Short Bottle) without gun holes does exactly what it should. This tube is much more linear, detailed, and also powerful, and keeps the low end nicely under control. Starting from this foundation, you can then further refine things in the third position (center left in my version). If you want a 3D image (great for classical music), plug in a Sylvania GT Bottom Getter or a genuine Chrome Top from the same manufacturer. If you're looking for more engagement (great for jazz/singer-songwriters), you can try the various Tung Sol GTs with T-plates here. The TS Short Bottle T-plates Grey is hot; for me, it clearly reveals the transients. Sometimes right up to the edge and sometimes just over the edge with percussion like bongos, congas, and piano with lots of hard hits on the right side. I've managed to track down about 9-10 versions of the TS, of which I just bought 5 to try and reach the "sweet spot," which, like the Holy Grail, obviously doesn't exist. I'm right there, and with a bit more warmth and pressure in the midrange and a bit less high notes, the system would sound even more homogeneous. If you want to have Jimi Hendrix playing your ear off for an evening, try a Foton '50 with ribbed anodes. It's a rough guy, but on some nights with a bottle of whiskey...

In short, there are many combinations, but first of all, don't believe all the general rumors on the internet. Some tubes suddenly get hyped, and the next year, the same "super" tube falls from grace, as I saw with the TS GT Roundplate. I read in several places that the Sylvania VT231 doesn't sound as good as a regular Sylvania GT with a Bottom Getter, or even worse than the version with three holes in the anode. It's all bullshit; they're structurally the same and sound virtually identical, and if there are even small, insignificant differences, they can be attributed to, for example, batch variations. Make sure you have a wide selection of tubes and work systematically, keeping track of the "logical" configurations you've tried in a spreadsheet or notepad. Use your ears, don't pay too much attention to the forums, and put in several months of generous passion, and you'll be rewarded with a satisfying result. Don't let bad-sounding combinations hold you back, because you're guaranteed to encounter them, but one day that aha moment will come!

Of course, a 6SN7 GTA can be a good fit in a given situation. It all depends on the other components of the setup, preferences, acoustics, etc. A SET or a PushPull have a completely different set of requirements, as the power transformer is already a source of timbre. An OTL is a completely different world; the sound has to come from the tubes. I've been working with these OTLs for about 17 years now, and my journey has also been one of trial and error.

As Pindac also indicates, a single-tube setup is simpler, but this comment deserves some qualification. With an MP-3, it's much easier to determine the character of a 6SN7 tube because it only uses one pair. But that's also its limit. My best experience there is with a Sylvania GT Bottom Getter (VT231 is still reasonably affordable), which delivers a lot but, to my ears, doesn't yet have the right timbre on its own in an OTL. Incidentally, the 12AU7 also plays an important role here, but a good, silent NOS is difficult to find. It's important to consider the power amplifier in your approach. With solid-state, it is what it is. But if you have an M60, you can further build on what the MP-3 delivers.

My strategy is to ensure the preamplifier is perfectly matched in terms of sound, spatiality, and detail with the right tubes. Slam and engagement don't play a (major) role in my approach there. I address those in the power amplifier. The more tubes in the chain that determine the sound, the more compositional possibilities you have to achieve the desired result. With a combination of an MP-1 Mk. 3.3 (latest update) and an MA-1 Mk. III, you have six tubes that significantly determine the sound. On the one hand, that's fantastic, but on the other, it presents a complex challenge.

Whether it's an M60 or another Atma-Sphere amplifier, based on my strategy, the engagement, slam, and experience (where you're sitting in the concert hall) should be created there. Regardless of which Atma-Sphere power amplifier model you use, I would recommend using a Linlai GT E and, in the case of the M60, completing the process with a second tube. With the MA-1, you have two tubes to do that.

Pindac rightly points out that not many have the necessary tubes for such an experiment, at least if I'm interpreting his/her comment correctly. But I think that if you have an MP-3/M60, and especially an MP-1/MA-1, such a setup deserves a carefully selected set of tubes. That's the corresponding investment. Not everyone will be as crazy as I am to amass a tube collection that now represents the value of a small car. But perhaps there are enthusiasts nearby who could borrow some things and/or try them out together. In the Netherlands, as a hobby, I'm willing to occasionally visit an Atma-Sphere owner with my tubes by appointment.

Pindac, I can't speak for your system, of course, but I can tell you that with a little patience, you can make an Atma setup sound so amazing that people wonder how the music is actually being played live for them. And they'll be shocked when someone goes wild on a drum kit, etc. Believe me, there's nothing exaggerated about that. Or the voices can be so tangible that if you stretch your arms, you can almost touch the artist. But that, of course, depends on many factors. I truly believe that with some time and effort, anyone can deliver a performance that ranges from acceptable to truly exceptional.

@car123 

I haven't tried the Ray, so I have no idea or opinion about it. The Linlai fits well into my setup and what I want to achieve overall. Of course, there are many ways to Rome. In my MA-1, I've combined it with the Melz ribbed anodes (without the holes), as mentioned above. I'm experimenting with the third one. On Monday, I'll be getting a TS T-Plates with black coated anodes for a bit more rounded tones and a slightly warmer midrange. I still have a few candidates for this position, which will put me at the front of the concert hall.