This is a 2+ year review. Honeymoon is long over, unless they can last forever. I'm still impressed more than ever. This amp probably has more features and perfect tones than any other amp I've ever played or heard, but if I'm going to complain about something, then it would be that I can't use my 16 ohm 4x12, and without a stereo 1/4" adapter to use the non-mono ring, you can't do straight 8 ohms either. The watts knob is a great attenuator that doesn't compromise tone, though at the minimum setting, you'd want to compensate by increasing the treble slightly. The "practice input" does compromise the tone some, but this attenuates to speaking tone volume and I just practice with the "gig input" with watts at minimum. I have tried most of Pritchard's different cabinets and own the 1x12 TB (Tunnel Back). My favorite was the 1x15 TB which uses an Eminence Legend 151, probably the best 15 in production (or out of production) that I've heard. The Pritchard in that cab can do absolutely everything without the slightest compromise. My 1x12 TB is about 35 lbs and perfectly portable. It's speaker is a custom version of a Legend V12. Even if you think you may not like the V12, in this amp and cab it is incredible (Even ask David Barber about the V12) But it does lack a little of the sparkle available in other cabs and speakers. It tends to make a 1x12 TB sound like a 4x12 closed back. Basically anyone who likes closed back cabs already wouldn't think the Pritchard 1x12 TB lacks necessary sparkle. I didn't care as much for the Pritchard 1x12 closed back, even though it sounds great for thick crunch tones, just because it doesn't sound as good with clean tones, and Pritchard amps, to me, is all about tons of great tones without compromise to any of them. The 4x10 TB is absolutely killer for blues and everything unless you want to do palm mute high gain riffs on the low E string, which I do. The M (Marshall voice) is my favorite, and my standard starting tone. I can max the boost and get an old vintage Metallica tone (but remember, this is a non-master volume amp!) and then roll down my guitar volume and get such sweet and harmonically rich clean tones. It is unbelievable the range of tones that stay great just by guitar volume knob. EVH rolled down his guitar volume for his cleans, but they weren't anywhere near this good with the same technique. You can get great EVH tones here as well, I'd say closer to VH 1&2 than EVH got with Peavey and Soldano amps. The F voice gets from BF to tweed Fender tones just by how you set the volume and midrange controls, and gets them both quite convincingly, though you can't set the bass very high or it is capable of farting out, just like vintage Fenders, because the F voice is designed to replicate their circuits that closely. I stick to the old magic sixes trick and it is not a problem. The S voice is sort of a extra-harmonically rich twin, but not quite blackface or tweed. I use it for Steve Howe of Yes type stuff and it works great. Others use it for jazz, but I won't pretend to be able to play jazz. I also like the H voice. Initially this was designed to be a type of high gain voice, as it has the designed tonal effect of running 2 Marshall preamps in a row. However, it effectively makes a high frequency emphasis and at clean settings has this great almost lo-fi EQing to it that immediately brought to mind Pink Floyd's Piper at the Gates of Dawn. I loved that tone, but had to look up what amp Barrett used. So turns out, the Pritchard can sound like a great Selmer Treble & Bass, and this is a cool tone to have, for those of you who know that album. In fact, I'm not sure of another current production amp that can get that tone. The V voice is fun, but at least with my 1x12 and current 12, it can't sound like a vintage AC30 through Celestion Blues. A friend did bring over his Hellhound one time, which he used to get the "Voxiest" sound he could afford. He set the Hellhound up to his stage settings and volume, and then we set the Pritchard up to match the Hellhound, and did so, so closely that he couldn't tell which was which, then we tweeked the Pritchard a little and made it so much better than the Hellhound for the tone he was trying to get. I also use the L voice to get smooth or aggressive sustaining higher gain tones from Vai to Dream Theater, but this (remember the Satori is a non-master volume amp) still has slightly less bite than Dream Theater/Petrucci uses. Believe it or not, after 2 years I still haven't used the other voices much. There's just so much to try on the voices I focus on. I've heard other people experiment with the other voices for their styles and sound unbelievable. I've still only tried just a few pedals, but hardly ever. I've just been going direct to amp. (Oh and the direct out from the amp to a board or PA is so good it isn't funny, and my V-stack Classic (to be sold) isn't even in the same ballbark for DI.) The Pritchard has both serial and parallel FX loops, and I still haven't bothered to try them. The reverb is good and useful, though I've probably heard a few better as I like 'em springy. Supposedly Eric Pritchard currently has his amps where you can have the reverb only on one channel and switching channels could turn it off automatically for your gain channel if you so want. That's cool because the 2 button pedal is only for channel switching and for the boost on each channel, but I think my older amp doesn't have that option. The only draw back to the Sword of Satori not already mentioned is that by having 2 non-master volume channels, you have a limit on the relative gain of them. However, you can get a pretty high gain on one channel and a pretty clean tone on the other to be equal volume due to different preamp voicings. Just don't expect to get the extreme gain and pure clean tones of equal volume that some heavy metal bands use. For that maybe the Pritchard Estoc would work, but I've only played one of them just a little bit, not enough to have an opinion on its differences. (I did have a Black Dagger for a couple months before I just HAD to trade up to the Sword of Satori.) To compare the Pritchard amp to other SS amps or even digital amps is apples to oranges. I cannot stand any Line 6 product I've ever tried, which is all their amps and PODs. I don't like any Tech 21, which all sound fake. (Perhaps the problem with all of these is I really REALLY want my vintage tones to be absolutely real, and those aren't 100%, and even 99% is no better than 0% if it can only annoy you.) I like the Lab Series amps only over a very limited range, not when they are pushed into noticeable gain. I haven't got to try a Pearce or Blue Tone amp yet, but hope to eventually. One other thing, cause I'm not sure if it is now standard, or something he just did for mine and on request. But he has a noise gate, even though this amp is not noisier than any other good amp, but originally when he first released the amps, the noisegate would be noticeable if you had the boost on and rolled down your guitar volume "too far" for playing clean and played softly. That problem is completely fixed on mine when I play cleans through the guitar volume knob. If any one buys one, ask him about this. Anyway, I hope that other people can test one out thoroughly for themselves. It seems lonely being the only Pritchard owner posting here. I know there were two others, but perhaps their Pritchard amps cured them of the desire to discuss on forums instead of play. Maybe I'm the oddball Pritchard owner who hasn't been cured of the Gear Page? Makes me think, although I have only scratched the surface of this amp in explanation... to heck with writing...I'd stop to play but I'm typing this at 1 AM with 3 kids asleep. I'll go to sleep now so I can play tomorrow, er today when I wake up.