No, I probably can't remember them all but I've tried:

Sylvania 6DJ8, Sylvania 6922
Seimens 6922
National 6922, National 6DJ8
RCA 6DJ8, RCA 6BQ7A (cryo'd)
Ruby 6922
JJ 6922
Philips 6922, Philips 6DJ8
IC 6922
EICO 6DJ8 (Mullard? Maybe)
Telefunken 6922
Svetlana 6N1P
Various other 6N1P from Russian factories (cryo'd and non-cryo'd)
6N2P from Russian factories
Electro Harmonix 6922 (cryo'd and non-cryo'd)

And other tubes that I couldn't specifically name at this time. I've done enough experimenting to realize that the 6N1P is the tube type to concentrate on.

I've tried 6N23P as well.

If you've only tried that one pair that came with your amp I'd say try at least another pair. I've found some wildly different 6N1Ps from ebay and online vendors. I'm using a triad of the regular cryo'd 6N1Ps from cryoset.com in my CSP2 and they're nice, different than the super-cryo'd ones.

The 6N1P helps me accomplish a goal I have of making as many of my recordings as possible come alive. Not just the "great sounding ones." I've come to the conclusion that this is the tube type fundamental to that end, it has the right characteristics for the broad range and scope of recordings in play. It's just a personal choice. I find it interesting that I discovered that it holds true for three machines for me: CSP2, Mk II and Mk III. If you're happy with those you're happy with no reason really to try, but if you've only heard that one pair of 6N1P tubes, well that's just one pair!

Interesting. I have shed a lot of recordings as I transitioned from LP, and later to computer, but still have some pretty bad recordings.

And my goal is also to have most recordings sound great, BUT ALSO to have the good recordings be "chill bump inducing." My system/room/tastes, but I don't feel like one has to necessarily sacrifice the other. Or am I misinterpreting.

More specifically, my objective is for the decent recordings to captivate me to a point of engrossment by a sense of realness in the beauty of the music. Along with this is the wonder at the magnificence of the presentation by my system/room........ a deep, wide, layered, saturated and spacious sound stage...amazing character of the instruments and voices solidified by the many shades of detail that create true timbre, textures, air,  body, and solid deep bass......... and these values carry me back to the wonder of the music.

I do have a lot of tubes to fine-tune with, and enjoy playing with this. And my good sounding room and system are diligently tuned to one another. But I get that  engrossing and awesome realness that convincingly places the player in the room, while still being able to enjoy listening to old Stanley Brothers, earlier Irish Traditional, Niel Young Harvest or Let it Be. But also, better quality, but pretty dense recordings like Patricia Barber Modern Cool or EST Seven Days of Falling with excellent sound stage, engaging spaciousness, and definition. Or recordings that can hurt if too bright like Archie Shepp True Ballads, or Sonny Rollins Sax Colossus... the horns in the face, but beautiful and strikingly real.

I do have to try the super Cryo 6N1Ps because Lon's  experience and suggestions tend to pan out well for me. And since I am already a lost in the tube wilderness whackjob, I should have a good example of the tube type anyway! I can imagine pretty easily how the cryo process could make a good 6N1P a nicely resolving tube.

I look forward to hearing your thoughts Morgan!

Well, after about eleven months of use, I replaced my set with a new set. The vividness of the sound is back!

That's about par for the course for me, about a year's worth of use on power tubes. I run my amps about 12 to 18 hours a day, so really that's a lot of use, about 4380 to 6570 hours; I keep my Torii turned all the way up for the most part (controlled by either my PWD Mk II or my CSP2 or now CSP2+).

More time on the cryo'd 6CA7 JJs has been good, these are very nice!

Also. . . on my Torii Mk II I put over a hundred miles on a pair of RCA 5YGGT that I got from ebay a bit ago and put them in the Torii Mk III yesterday in place of the Valve Audio 274B. Well, a drop in perceived power output but man the warmth is back, and the imaging and sound stage have resumed what I perceive as "normal" (at least using my reference recordings, which are of music bandmates and I made in my then garage apartment which I made on my four track Fostex). I don't why I never tried this tube type before in the Torii. Now I have that tube type in my two CSP2+, ZP3 and Torii Mk III. A very nice chain of sound!

You're probably right about these matching my priorities of favoring as much music and as many sources as possible.

I get considerably less bass from the Valve Art 274Bs. . . . I think the reason I never tried these was my love for the many RCA 5U4G type that I have.

I'm not finding a noticeable diminution of dynamics between the two tube types. Maybe the CSP2+ is responsible? Anyway, that sigh was released and I continue to be pretty happy. The diminished power output is not an issue at the moment thanks to the CSP2+ gain, and I lost the digital video out on my previous DVR and got a new one from the cable company that is a different model. Sound isn't quite (yet?) as good but the output is "hotter" and as the DVR was the lowest output of all my sources, that helps.

I was disappointed in the 55 winged Cs I have. And I really have liked RCA (and other) 5U4GBs and STs. From initial impressions, those Upscale Phillips 5R4GYs are quite impressive in their warmth, texture, and tight and clear but also laid back presentation, but somehow, they lack some luster for me and seem a little restrained. They do have excellent mid bass clarity.

So far I have liked the cryo'd Valve Arts just fine, but I have been adjusting toward synergy with them. Need to plug in some old favs and see how they add up. When I first put the 274s in, I liked their open, "tubey" and unrestrained character, which I still appreciate, but I can see how they might be too forward for some systems and tastes. I do not get a notable diminution in bass with them here. A little maybe...but not a big enough deal to even take notice.

I did some rolling today with some old fav 5U4GB and STs. Definitely more deep bass presence, especially with GBs, and less mid/upper-mid lucidity..... I had changed to the Valve Art from the Phillips 5R4GYs and they have a bit more bass, but not as much as the 5U4s. Having gotten used to the 274s, and adjusting/rolling to their presentation, I am enjoying them overall.

The bass knobs, are weird. You will know what I mean once you get them...that is if you ever get them. They do more than just tighten or loosen the bass...they actually effect the whole shebang, but the effect is more obvious with the bass. And they don't in fact seem to increase or decrease it, but instead change its character. This can give the impression of more or less, but I think it is not.

Opening it up, the warmth and atmosphere increases along with the bass becoming fuller and less articulate. It is an odd and sometimes confounding adjustment because it is hard to really "get" the whole of it, and in my system/room, I am not altogether sure it is that great until it is tuned just right. Sometimes I think wide open or turned all the way down are best seemingly with less confusing effect finally, but I always end up somewhere in the first third to two thirds. Pretty cool when you find that sweet balance spot....I use it a lot and in concert with the treble...I think I would really miss the very fine-tuned possibilities if it stopped working.

On the other hand the simplification may be a blessing!

I will see when the Taboo makes its way here.