Great insights as usual, Bill. Since the time just after this tear down when i built a few channels of 425-based preamps, i have come to the conclusion that they‘re useful and sound great - until you push them hard! Now i have an explanation. Something there IS audible! I‘ll try to find time to do a capture at 10 kHz to see the sticking you’re talking about.
At the time I wrote this up, I didn’t have enough experience recording with them to have noted that. But you can definitely hear it. I stand by my assertion that these are easy to build and useful “color” preamps, but you can‘t expect to get usable, “more color” results by nudging them just over the edge in the way we typically do. Just my practical experience. And now you post this, which is interesting, even though you state that the effect shouldn’t be audible. All i know is, something is happening there that gets in the way of expected operation at the edge.
Your analysis motivates me to finish an analysis of the 360BM. From what i can see on the PCB so far, similar architecture, but (tiny) transformer-coupled input and single-ended output stage. I always thought those sounded a little too wooly and veiled for my taste.
Superficially and on quick glance, the 425 has a similar architecture to your AM-10. But the small details matter. I’d love to hear your thoughts on some of those classic Quad Eight designs one of these days - what drove certain design decisions, what compromises had to be made, and what you would do differently (if anything) with the same components at your disposal now. (Other than incorporating the breakthrough approach of the Outsmarts architecture of the 1646, which is obvious!). It would be educational, I’m certain.
thanks again!