@lewm Yes, I thought it made some sense that the buffer stage would have less impact than the gain stage and less consequence of a microphonic tube. I found that very difference in the EH Gold Pins when I used them in each position.
In my set up, I find the 6SN7's to be very quiet tubes, in that even at a very high volume, there is no audible tube rush. The opposite is true in my Cary phone preamp, which uses 12AX and 12AU7's or their variants. There is very notable tube rush at higher volume until the music starts, then it is inaudible. I believe it is a different design than the SLP 98, as I've read that all gain is from the tubes. Maybe that means that something else provides at least some of the gain in the 98 preamp. I don't really understand all this but I don't have to either. I don't plan to build or even rebuild these components. I trust the manufacturers to that.
In the old Cary PH301 phono stage, it came with some very cheap Chinese and Yugoslavian tubes. I described them as "ringy". Even with them, I could tell that the Cary was a step up from the old phono stages that I had used before. I also had recently switched to LOMC from MM and I know that made a difference as well but got hooked on tubes in pre stages in this way. My humble beginnings. :)
I get that the 6SN7 has the larger glass surface but what about the really large tubes like KT88's (I think that's what they are). Seems a lot of folks are in love with them and the old 300B amps?????????? I"d love to hear them sometime but probably never will. Anyway, sorry to gab so much. This stuff is all very interesting to me, at least from a listener's standpoint.

