The probability of sag compression and/or ripple harmonics being detectable and desireable by the player is really cool. I remember early on in my learning, back when brick and mortar electronics stores still existed, having a conversation with an old timer that liked to build guitar amps. He told me that once you have designed and built something you like you should never change it in any way. And mentioned that he had amps prototyped on bread boards where the actual test board was simply stuck into the amp for fear of losing any mojo from the layout if he rebuilt it. This started me on the path to understanding those less obvious things about amp design that can affect the overall sound. Since much of this aspect can be somewhat arcane it puts a little of that "black art" or alchemy back into the genre. Which is fun. Sometimes we can recognise why something sounds good only after it's been done and reverse engineered. And these discoveries still happen. Since guitar amps are instruments unto themselves and not strictly tonal reference/reproduction tools it's the things that make them MISbehave in a musical way that we are interested in

Comment