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There's just not enough voltage in a guitar to awaken the different characteristics of capacitor types - you can hear the difference in guitar amps because there's hundreds of volts across them.
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Putting a closer spec one in will yield results- and the orange drops fit in easily .
FWIW we made a switching box so you can blindly compare different caps (of exactly same value) against each other without knowing which one you were hearing till later , and at guitar voltage levels we couldn't tell between the types , even though we kind of wanted to be able to.
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Personally I use polymer rather than ceramic because the tolerance is tighter, and they are less susceptible to temperature and humidity. I avoid 50s style capacitor's, such as Sprague and paper-in-oil, because of their size.
I also slightly disagree with Roland that the precise value matters - the reason caps have tolerances as high as 20% is that it doesn't really. You can probably hear a difference with caps at the extreme outer ends of the tolerance range, but that's about it - I did some direct-switching testing on this, and the smallest change that was definitely audible was about -25% or +33% from the marked value… and even then that was very subtle and not detectable unless you were actually listening for the change.
For what it's worth the now very valuable 1960s Strats used ceramic caps as stock, so it you want true vintage mojo you want ceramic .
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