Tony,
thanks. Yes a guitar amp is an interesting beast from a technical point of view as a lot of times it's the imperfections that make it pleasing to us

so it's a balancing act I suppose between technical 'perfection' and pleasing to the ear.
Also I realise that ceratin elements wont be as noticable if you're not driving the amp hard. For example i think the main filtering doesn't really have much baring unless the amp is dimed. i could be wrong here but i've experimented with the main filter caps, doubling them, halving them in value and haven't been able discern any diference. perhaps if i used the amps dimed i might, but that's not how i use them. Same may be true for the outerfoil/resistors, perhaps having the amp dimed will make the difference noticable. i need to take this into consideration when doing the 'tests'
I've been thinking about how to keep the playing consistent to take that out of the equation. I'm going to use a looper but that will take the guitar in the room interaction with the amp out of the equation which as you say may have sonic benefits. it's a tricky one.
regarding capturing, well i have some great mic's here. I'll stick my 1960's U67 on it, that's a beautiful revealing mic worth about $12,000 now and either a sm57 or a nice ribbon. I can guarantee they will capture any nuance

Having the amps captured by the kemper profiling procedure will be interesting too for future reference.
I'm hoping the combined result of swapping all the plate resistors AND orienting the caps properly will have some audible result. I think perhaps each individual swap will be imperceptable but overall it would be great to hear a difference of any kind.
I'm keen to learn about this stuff but I'm also wary of dissapearing down a rabbit hole ending in listening to different wire colours.....promise me you'll shoot me before I get there
M