One more thing, there seems to be ALOT of differently Mullard’s in the ECC88 family. In one thread I read that someone had identified as many as +70 different versions!Already after 48 hours of burn-in I’ve found the Mullard ’70 Blackburn ECC88’s to be a really good match for the Pathos. My impressions of these tubes seem to be slightly different to people using these on non-hybrid amps. When reading about them almost always described as being ”warm”, maybe it isn’t as apperant when using a hybrid amp?
They aren’t as resolving in the bass at low levels as the Reflektor’s, and probably never will be regardless how many hours they burn-in. In ”Work Me” by Octo Octa I could hear some faint, deep bass at 00:25 with the Reflektor’s but with the Mullard’s I’d miss it if I didn’t already know that it’s there. On ”Walking with Elephants” by Ten Walls there is good bass impact/punch and also the same great sense of drive as with the Reflektor’s, but with a little less ”dynamic swing”. The treble is less smooth and feels slightly cruder, I’m hoping that this will improve with burn-in.
Switching to Anna von Hausswolff’s ”Dead Magic” the lesser resolution becomes more obvious. On this album she mainly plays on an organ in the ”Frederiks Kirke” in Copenhagen, Denmark. If I was mainly listening to technically demanding music across the ENTIRE frequency range I’m not sure that these tubes are the best choice, but this is of course only my opinion. Btw, this is a stunningly good album and highly recommended.
Two things are killer with these tubes: the holographic presentation and a wonderful midrange. The holographic presentation actually made me laugh out loud when listening to the alarm from the battlefiled on ”The Crusader Prelude” by Saxon - it was just such a cool experience! Both the holographic presentation and that wonderful midrange was on full display on ”Mirage (Live)” by Antonio Forcione. There is a greater sense of realness, of being there in front ot the stage that’s bordering on surreal. In comparison the Reflektor’s display the soundstage technically better in terms of width, depth and positioning but not as fun or engaging. I have the same experience with both ”Soothing (Live)” by Laura Marling and ”Litte Things” by Big Thief: technically not quite as good but with a brilliant sense of ”realness”.
As with many things there’s a compromise to be made between these two different tubes. The Reflektor’s are technically better, more resolving and more coherent, better balanced across the entire frequecy range but the Mullard’s are just such fun!
Lets see if, and how, my impressions change over the coming weeks.
The version I’m using has the dimpled getter that was mostly used with A-frame models combined with the traditional splatter shield. I don’t have a clue if this has any importance at all when it comes to the sound but felt it worth mentioning.