Piezo, I think you missed my point. Like it or not, many classic guitar amp sounds are the result of imperfection and happy accidents. Consider the classic Marshall, Fender, and Vox amps as examples.
That doesn't mean that you can't build a premium amp that also sounds very good. I didn't mention it above, but I also have a mid 90's Matchless HC-30. It's a cathode biased EL84 amp, based of the Vox AC30 design and tuned for great power amp distortion. It has hand wound transformers and point to point wiring. I love it for rhythm work - it has a greasy, buttery distortion that really augments your playing. However I also like preamp distortion for solo work - there's something magic about having tons of controlled, well articulated sustain at your fingertips.
The Groove Tubes Solo 75 is a compromise - it can do nice preamp distortion and wicked power amp distortion. You can select Class AB, grid biased Class A or Cathode biased Class A for the output stage from rear panel switches.
For awhile I had a rack mount processor from ADA called the Ampulator. The purpose of this thing was to simulate big amp power tube distortion using a 12AX7. It gave the user front panel control over bias, amp class (A, AB), feedback, tube balance, and power supply hum leakage. Playing with these controls was very instructive - for example the sounds of some classic amps depend on some hum leakage for the rough, false note tones they can generate. I came to appreciate how much imperfection, cheap parts, and design limitations influenced the classic amp tones.
Let's not forget speaker distortion. A Celestion 30 sounds very different from an EV-12M at 100 watts.
My Matchless simply doesn't get some of those really raunchy early rock tones, though it's a wonderful amp on its own terms. THere's more than one approach to interesting guitar tone.
That doesn't mean that you can't build a premium amp that also sounds very good. I didn't mention it above, but I also have a mid 90's Matchless HC-30. It's a cathode biased EL84 amp, based of the Vox AC30 design and tuned for great power amp distortion. It has hand wound transformers and point to point wiring. I love it for rhythm work - it has a greasy, buttery distortion that really augments your playing. However I also like preamp distortion for solo work - there's something magic about having tons of controlled, well articulated sustain at your fingertips.
The Groove Tubes Solo 75 is a compromise - it can do nice preamp distortion and wicked power amp distortion. You can select Class AB, grid biased Class A or Cathode biased Class A for the output stage from rear panel switches.
For awhile I had a rack mount processor from ADA called the Ampulator. The purpose of this thing was to simulate big amp power tube distortion using a 12AX7. It gave the user front panel control over bias, amp class (A, AB), feedback, tube balance, and power supply hum leakage. Playing with these controls was very instructive - for example the sounds of some classic amps depend on some hum leakage for the rough, false note tones they can generate. I came to appreciate how much imperfection, cheap parts, and design limitations influenced the classic amp tones.
Let's not forget speaker distortion. A Celestion 30 sounds very different from an EV-12M at 100 watts.
My Matchless simply doesn't get some of those really raunchy early rock tones, though it's a wonderful amp on its own terms. THere's more than one approach to interesting guitar tone.

