6922 vs 6N30 based preamps

[jimbones]

Ive heard 6922 based preamps and I find them to be pleasing, but never heard a 6N30 based preamp. Can anyone explain the differences? Is the 6N30 the same as a 6H30?? TIA

[AnotherJohnson]

I’ve read that the 6H30 is more robust (longer life) than the 6N30. I know that on my Hickok tube tester, the settings for the 6922 and 6N30 are different, and that using 6922 settings while testing 6N30 tubes can burn out the tester.

How do they sound? I don’t know of any preamps where you can safely swap one for the other and draw a conclusion.

How do 6922 preamps sound compared to 6N30 preamps? It depends. In different preamps, a preamp designed around one or the other will also have many other differences.

I’ve owned many CJ preamps based on the 6922. I’ve owned three ARC preamps based on the 6N30.

I’ve enjoyed both. My 6N30 preamps claim about twice the tube life claimed for my 6922 preamps.

I would not choose a preamp based on whether it used one or the other. I would listen to both.

If you’re buying vintage gear, listening is especially important because of the aging and history of individual vintage units.

I think you can find pleasing preamps based on either tube.

[AnotherJohnson]

FWIW, CJ and ARC both state that their OEM tube choices are the best they are aware of. They have every incentive to recommend what really does sound best to their critical listener (Warren Gehl for ARC, and probably Jeff Fischel for CJ). Both have excellent ears, and I trust them to seek the best sound to preserve their legacy and reputation.

[AnotherJohnson]

FWIW#2
WZJ claimed that he could design great gear around tubes or SS, but that it was harder to do for SS. I suspect it is similar for 6922 vs 12AX7 vs 6N30 vs 6H30. IE, you can design great gear around your choices, but that it takes effort.

I think based on my own listening that there are true advances from one generation to the next.

To my ear, later models of equivalent stature in a marques line up sound better (clearer, more neutral, more dynamic) than earlier models. Others disagree.

No one argues that the GAT is better than the ART 88, for example. Not many argue that the ACT series is better than the ART series. Some love Premier series. Some love PV series. To each his own.

[jimbones]

FWIW#2
WZJ claimed that he could design great gear around tubes or SS, but that it was harder to do for SS. I suspect it is similar for 6922 vs 12AX7 vs 6N30 vs 6H30. IE, you can design great gear around your choices, but that it takes effort.

I think based on my own listening that there are true advances from one generation to the next.

To my ear, later models of equivalent stature in a marques line up sound better (clearer, more neutral, more dynamic) than earlier models. Others disagree.

No one argues that the GAT is better than the ART 88, for example. Not many argue that the ACT series is better than the ART series. Some love Premier series. Some love PV series. To each his own.

yea Im down to 2: the ET5 and ACT 2 Series 2.

[AnotherJohnson]

In this review the second pair of ears used the ACT2 s2 as a reference.

https://www.tonepublications.com/review ... amplifier/

If it were me, I’d go for the ET5. But if you’re putting together a vintage system, the ACT2 s2 might be chosen.

If they’re in good condition, with good tubes, either would be very nice.

[jimbones]

Thanks, looks like I really cant go wrong with either. And I even notice that the 17LS is chock full of Teflon Caps as well. That can be had cheaper but I would rather go higher in the line and spend more.

[AnotherJohnson]

Reading Jeff Dorgay’s comments, it sounds like either would be great. I would say he leans toward the ACT2 s2, and in his system, I’m sure he’s right.

The Teflon caps are always a plus.

I liked the fact that the ET5 was full featured compared to the ET3. I went from the ET3SE directly to the ET7, and then the ET7s2. I liked them all.

FWIW, CJ is still listing the ET5 in their recently retired list on the vintage page. But the ACT2 s2 is only about 7 years older.

[Joe Appierto]

Just as a point of information the lettering appears to be 6H30n in Cyrillic which actually phonetically translates as 6N30P. I believe the two types are the -EB which was intended for consumer use and the -DR which was for military applications.

[AnotherJohnson]

Yes, the Pi seems to be s distinction for both the N and the H.

They seem Pi vs no Pi, they seem to be interchangeable to many sellers.

What’s the difference? The H seems to be the more robust, but otherwise, are there distinguishing specs? Just curious.

[AnotherJohnson]

Some of my tubes on the shelf

5967D74E-982A-4E31-993C-12B34AB7E30B.jpeg (4.12 MiB) Viewed 2193 times

It appears that I have a fair number of 6H30pi.

More 6922s or equivalents than it may appear. I’ve got three from JF of some exotic $120/tube equivalents in that gold bag to the left of the obvious 6922s, and there some other equivalents off to the right on that shelf.

I don’t think I’ve got anything that uses 6922s at this point.

Some of those are for guitar amps.

I should probably figure out what could be offered for sale.

I know that my tube stock isn’t large by the measure of many. But I don’t think I need to stock tubes for gear that’s gone.

[Joe Appierto]

The Pi is universal for them. It's the two letters after the Pi that count. The DR version is what Viktor Khomenko of BAT designated as the "supertube." That's the military version.

I've used both as the input tubes on the Premier 140. There was a point in time where the difference between the EB and the DR was about $50 per tube. Haven't a clue now what the DR version costs, if it's even available. I preferred the DR but some thought the opposite. That's almost always the case because it's always a matter of personal preference.

The closest I could come between the 6H30 and the 6DJ8 family was that the former sounded less tube-like, cleaner. Almost like Siemens or Telefunken.

Just my 2¢ of course.

[Big Dog RJ]

Of those two choices between the ET5 and ACT2 S2, the ACT2 is tops! I've had both and have always preferred the 6N30P's compared to the 6922's as an "input gain stage" in a preamp.

Both the ET5 and ACT2 use "buffered output stages," as well as nearly all of CJ's preamps to date, other than the latest ART88. The ART88 is an all tube design, no buffered output stage, pure tube design from input all the way to output.

Over the years, I've preferred the 6922's as a diver / phase inverter stage not so much as a "preamp" tube. Hence, the 6N30P has greater sense of drive factor.
*please note* this is only a personal preference.

Therefore, you need to try both and determine which one you actually prefer. None of us can make that choice for you, regardless of who has golden ears... no such thing!

As far as the types are concerned; 6H30PI and 6N30P, same damn thing! No difference whatsoever! I initially thought there was a difference until my trusted tube supplier actually demoed the two right in front of me after tearing his hair out and jumping up and down... RJ! They're the same damn tooob man, stop asking stupid questions. Ok man, I was just asking... no mate, this is the thing man! These silly so called audiophiles think they know it all man, they buy a tube amp, then they go ahead and change tubes, mess with the amp and then say all sorts of greatness on forums... dude! I'm telling you man, I've been dealing in tubes all my life man, they're the same damn tube! Don't get carried away by the marketing hype and audiophile bs... !

By this time, I'm out the door, legged it into the car, and I'm off. I can still see smoke coming from his ears... ha! So, now I don't ask him such questions unless there definitely was a clear difference in tube types. I've got both 6N30P and 6H30PI with me right now, I've tried both in my CT5 preamp, no difference at all.

However, when it comes to those small triodes M8080's from Mullard, compared to other M8080/ 6C4V type, the Mullards make a difference! The Mullards are far more musical and have everything of fine tube qualities compared to other input gain stages. These are the same input gain tubes used in my LP monoblocks, including the PV15, Classic preamps and the ART monoblocks (same ART amps that Admin has). Those Mullard M8080's are truly special but quite difficult to get hold of. Anyway, that's another topic.

Hope you manage to find the right preamp for your system, after all, those Prem12's deserve the best!
Cheers, RJ

[Joe Appierto]

As far as the types are concerned; 6H30PI and 6N30P, same damn thing!

As I stated in a previous posting you're absolutely right. But maybe something is getting lost in the translation.

The Soviets/Russians produced two different variants on the 6H30/6N30 tube. One was used by the military (the DR variant) and the other was intended for commercial use (the EB variant).

That's it. Nothing more complicated than that.

Maybe I'm missing the point here about smoke coming out of people's ears. Seems kinda ridiculous to me but then what do I know? Just happened to own and use both the EB and DR types. They sounded different to me and I preferred the DR. No big deal.

[jimbones]

As far as the types are concerned; 6H30PI and 6N30P, same damn thing!

As I stated in a previous posting you're absolutely right. But maybe something is getting lost in the translation.

The Soviets/Russians produced two different variants on the 6H30/6N30 tube. One was used by the military (the DR variant) and the other was intended for commercial use (the EB variant).

That's it. Nothing more complicated than that.

Maybe I'm missing the point here about smoke coming out of people's ears. Seems kinda ridiculous to me but then what do I know? Just happened to own and use both the EB and DR types. They sounded different to me and I preferred the DR. No big deal.

Joe I understand. I dont even concern myself with the DR version as they are rare and expensive. As long as there are new production versions available (EH??) My only question was about the sonic signature the 2 tube variants have (6922 vs 6N30). So I am now down to 2 preamps. If the Act2 can drive 20 ft RCA I may get that.

[AnotherJohnson]

If the Act2 can drive 20 ft RCA I may get that.

A nearly 7 m single ended run is a pretty big “maybe.”

You are asking for trouble.

If you can do 7 m rca w/o adding noise, you will be very lucky.

[admin]

I would definitely go with a shielded cable if I was going to go that long on an RCA.

[AnotherJohnson]

Some literally use an aluminum foil wrap, but 7 m is really long based on the notorious CJ antenna effect.

A pair of 7m rca cables of any credible brand is going to impact the total cost dramatically. Even with something as simple as AQ Mackenzies.

If I were you, I’d figure out how to reconfigure the layout so that 3 m or less are all that’s needed.

If you do fork over the bucks for good quality 7 m interconnects, buy from someone with a generous return policy.

If you buy run of the mill A/V interconnects, you might as well not worry about things like 6922 vs 6N30.

[jimbones]

I have no problems with noise. The interconnects are by Transparent Audio. Not sure if they are shielded or not

[AnotherJohnson]

Transparent have a wide range of price points.

There is a huge step up from Ultra to Reference.

The Reference and higher are calibrated to your specific gear.