I've been a DIY'er for most of my life, and about 8 years ago started my side business building extension cabs and front of house systems using a more scientific approach than most mass produced builders. My friend and band mate is a Ph.D. candidate of aerospace engineering (literally a rocket scientist) who has recently taken an interest in amp modding and is doing some pretty cool stuff with a project blackface Bassman he picked up as a "test of concept" platform. Last night we got into a pretty interesting discussion on how different amps are the way they are, and how their electro-mechanical properties shape their sound. I'm no stranger to amp mods myself, although he's more willing to do major surgery than I am. We started talking about the gain structures of 2 iconic "clean" amps: Fender and Vox. I personally disagree with Vox being a clean amp, as they always have a little dirt (not 5150/Rectifier/Uberschall/SLO/Hebert level gain, but certainly not Hiwatt pristine) in their tone even at low volumes, but I understand why they get classified as such. In a way, the gain on Fender and Vox amps works opposite of each other. Fender amps start to break up in the treble first, leaving the lows/low-mids clean (think SRV with snappy roots walking in a 12 bar pattern and gritty lead embellishments). Vox amps break up in the lows/low-mids leaving the highs clean (think Brian May, although there's gain in his treble also due to running his amps full tilt). Vox most likely gets labeled as clean because even when overdriven, the way it overdrives allows all the notes of a chord to still be heard. So... how does this relate on a forum made mostly of metal enthusiasts (sorry for the generalization, I know many people here have eclectic musical tastes, but metal is the leading cause of discussions here)? I was wondering if anyone has tried a stereo rig using a Fender and Vox together. Both amps actually do overdrive, but from different ends of the audio spectrum. In concept, blending the two tones together could have the effect of producing a clean and dirty sound in simolution, yet if done in stereo, the L and R channels would be inversely clean and dirty creating a very textured tone. In no way would I expect this to replace the current selection of amazingly well designed fire-breathing high gain amps, but as a thought experiment, I could see this as a unique sound that could yield some creative results. Anyone tried this? Might try it? Or are we just a couple of engineers with a cool concept on paper that doesn't produce the predicted results in the real world?