This has become kinda the main thing I research and talk about on youtube sometimes. The hard part is other than the Framus Cobra, it is near impossible to find accurate, not falsified, schematics of the other amps you mentioned. And for obvious reasons, these boutique manufacturers are really selling a lot of fluff, no offense, they are great sounding amps meticulously designed, researched, tested, etc. but for the most part they have a lot of similarities in fundamental design that they probably don't want to be too obvious to the consumer. These amps tend to be more specific to a certain designer's ear and preferences which is also why you get a lot more polarized opinions on them - I think just about everyone can appreciate that a common JCM800 is a good sounding amp for example, but on the other hand you have people who have saved up for years to finally buy an SLO100 and then end up not liking it and moving on to the next thing.
There is a great website that goes over some technical stuff, which you may already be aware of but worth mentioning anyway:
https://robrobinette.com/Amp_Stuff.htm
I think it's important to understand the history of the amp designs, to cover what makes them unique and how paths diverged from that original starting point (frequently, the 50s era Fender Bassman, Princeton, or Deluxe which are themselves based on an RCA amp design document).
Let me give an example: People love to throw around the term "plexi" in marketing material. Have a low to mid-gain channel on your amp with a tone stack positioned after a few gain stages? Call it a plexi. Say it's warm and plexi like. Glassy. Whatever buzz word you think will sell things, and it'll get repeated continuously in online forums by people who have never even owned the amp in question for themselves, because they think they know what it sounds like from youtube clips.
But what is a "plexi" sound really? Because it's a pretty unique amp, having two separate channels in parallel which can be combined with a jumper. I can't think of any modern amp design besides the Marshall Vintage Modern that truly has a signal path where the gain stages are in parallel and then mixed together in the same way as a true JTM/1987/1959 type preamp. So if your idea of a "plexi" sound is a jumpered 1959 Super Lead circuit, you're going to be at least a little disappointed by a cascading gain stage design on a modern amp's "plexi-like" channel because that channel is a compromise somewhere in voicing.
In contrast, put the tone stack right after the input stage and call it a "fender-y" clean channel. $$$, Done.
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I know I didn't answer your specific questions, sorry. I don't have a schematic for the Wizard or Diezel Herbert, although with the Herbert Mk1 ranking very high on my personal list of favorites I would love to see the insides of it, but I don't have the time or skill to accurately draw up a schematic from the physical amp even though I own one. I do have an Uberschall schematic though I admit I haven't quite broken into the Recto/SLO/5150/Uber can of worms just yet. What I see in a 30 second look is 4 gain stages on the drive channel with a cathode follower tone stack very similar to your JCM800-like design (which has 3 stages +cathode follower), and the clean just 2 gain stages with a plate driven tone stack, and both channels have the tone stack after the clipping stages. Fixed bias power amp but power amps are something I am still learning about so I'm definitely not the person to ask about that (yet, I hope). Long story short, yeah, it's pretty similar looking to a JCM800 2203 with an extra gain stage in there, some different voicing and biasing, EQ is quite a bit different with a log/audio pot on the treble control instead of just the bass, so that probably changes the feel quite a bit.
I do think a lot of this stuff comes down to the idea that your average player will just plug straight into the amp and set all EQ to noon to start out, so just an example, if you had the same EQ circuit on two different amps, and one of them you made the treble linear pot 500k and another 250k, and the user sets them both to halfway to test the amp out, it's going to sound very different because one will measure ~250k and the other ~125k, and we haven't even made any changes to the cap values and such. Technically speaking you *should* be able to get both amps to sound identical if you set the 500k treble pot amp to noon, and the 250k treble pot to max. But we as players, even the best of us, use our eyes instead of ears a lot and I think people naturally don't want to set the treble to max, so the user experience will be very different even if you put both of these amps side by side in a guitar store. So extrapolate how tiny of a change that would be by the hundreds of available amps and forums, plus some classic discussion board misinformation and you've got a lot of "mythical" amp ideas floating around tied to words like "warm" and "tight" and "punchy" haha.
Not sure if this counts as "power amp" or not, but one of the things that makes the 2-ch Recto so interesting is the location of the Presence control on the Red channel. Whether Rev C/D/E/F/G, the red channel presence control is located decidedly in the preamp EQ control area, instead the power amp like the Orange mode. The Uberschall for comparison has it set up more like the Orange channel, in the feedback loop (like a JCM800, or most other amps really). This single feature, of the Red channel not having a feedback loop and the presence control being more of an "upper mids" control is probably the number one thing most people hear when they think "Recto." However, because it's called a "presence" control on the front panel, people make the mistake of thinking there's something about the Recto power amp that makes that sound. I mean, it factors in of course, but I think everyone who has every played a 2ch recto in real life can clearly hear the difference between the Red and Orange presence controls (even if everything else is equal) and that's why. I haven't seen this setup on any SLO100 schematic either so I don't think you can really say a 2ch Recto and an SLO have the "exact same preamp."
Ok, I've rambled enough. Thanks for reading, please correct me if I said something inaccurate. Cheers
