I kind of in a way used these techniques with my playback during past years. When I used 3-channel Melquiades and had a dedicated ½ 6C33C for MF driver of Macondo I usually tended drive my rights MF channel at slightly higher current then left channel. My rational was that the 1st violin section is always on left. If the 2st violin section sits right with 1st violin and the violas and Chellos are on right with bright copper way behind then to have an extra half or one dB within right MF does not heart and it gives some compensation to generally HF-attention deficient right channel. It did not rely EQ it but rather shaped the imaging curve in more proper way. If the 2st violin section sits on opposite side of 1st violins then it does not truly hurt as 2st violins do not care main melody but rather the filler of melody and usually stay in background.
When I moved to single stage amp for MF then I was mach less flexible with those tricks as I had no spare gain and very little spare current on the single stage plate.
Now, finding myself with DHT, having plenty of extra gain, having ability to use different loading (anodes of 2.5V vs. 4V tubes) and having an opportunity to use deferent brands and vintages of tubes at right and left channel I think it would be a wonderful opportunity to shape the sound at very kinky fashion.
Truly, why the tubes shall be matched by gain or my other characteristics? My upperbass channels have deferent gain; my bass channels have different gain. If my DHT project for MF goes down successfully (as it appears it will) then I do see myself running different DHT tubes for right and left channels…The Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche