Read through a lot of posts, not all, but a lot. I see a lot of members in this conversation that are frequent shock brothers contributors, so hello to yall. First off, I'll say that I've never plugged into a tube amp that I just simply couldn't get a tone I like out of. Different from normal, maybe or yes, but nothing that was to the level of "I just can't play this." So, they are crap, isn't really part of my mindset. But, I'll add to the guys who first off say, reliability and longevity is a big difference. Those eyelet boards aren't going anywhere. I've built close to a dozen amps, but I've never even considered working on a PCB. That doesn't prove anything, but I know I can't melt an eyelet or fiberboard. As is often discussed, if you are cutting costs on the board construction, you are probably cutting costs elsewhere, and the fact is, for a private builder it costs nearly what a reissue costs from the store to pay for the raw materials to build the same amp out of normal, quality components. The transformers alone may run $300 for American/Canadian made transformers that are equivalent to the vintage stuff. Quality pine cabinet will run $250-300, easily. Components, speaker, LABOR for building something that isn't just average off the line, but is RIGHT. Every voltage check as been done and corrected, the transformers are overbuilt and guaranteed for hell or high water, the cabinet is fingerjointed pine with a birch baffle instead of MDF, the carbon comp resistors cost 2-3 times the Chinese stuff on the PCB circuits, Carling & Switchcraft switches, and it's all tuned to exactly what you want, output and response-wise, and the Tweed was shellacked instead of tinted with a spray gun and lacquered, not to mention, applied with hide glue that can be repaired for a lifetime instead of contact cement that has to be knocked off with a belt sander. All that into consideration, and most people expect that private guy to do all that for less than the Mexican or Korean Fender costs a multi-national corporation, that's why reissues get a bad rap. They simply aren't going to last 50 years with just routine maintenance.