The stock AB763 circuit does use a roach trem. These tend to produce a very 'on/off' type of tremolo, unless you spend a lot of time modding the LDR driver circuit to get it working smoothly. They are also very prone to ticking. This is to do with the demands of getting the neon lamp to smoothly vary in its intensity. Fender tried different variations on the LDR driver stage at different points in the evolutionary history of this type of trem. You can examine the differences by comparing a bunch of BF and SF schematics from different eras. You can use a LED instead of a neon lamp driven roach, and IIRC Merlin Blencowe discusses some examples (I think, oddly enough in the 'signal switching' chapter?) in his 2nd edition pre-amps book. (I don't have my copy with me at the moment).
Bias-vary trem is used to great effect in the Princeton Reverb and in the Brown Vibroverb (6G15) and in the Brown Tremolux and Vibrolux, and the Tweed Tremolux. With proper bias adjustment, these can be made to sound intensely hypnotic. The key is getting the output from the LFO stage to drive the output tube bias right to the edge of cutoff, but without clipping the output stage's grid (which otherwise results in 'helicoptering'). Some experimentation is required to fine-tune it; e.g. try experimenting with modifications to the capacitor values in the LFO stage's RC network (e.g. changing one of the 0.1uF caps to .02uF, or changing the .02uF cap to a .03uF will change the envelope/shape of the LFO wave-form and trem speed). Also try adjustments to the LFO buffer stage driver intensity (by changing the voltage divider ratio between the cathode follower stage and the intensity control). Also try altering the output tube bias. Don't try all the changes all at once though - its a thing best tried one-at-a-time. If using bias-vary trem in an amp with a LTP inverter, it also helps if you have the LTP biased in the centre (i.e. not too hot or not too cold) as either extreme (particularly over-warm bias) affects the A/B duty cycle of the output stage under heavy signal conditions, which in-turn messes with the bias-vary trem effect as you crank the amp.
The blackface Vibro-champ uses a bias-vary driven tremolo, but it wiggles the bias of one of the pre-amp stages. When properly set up, this also produces a very nice tremolo.
The Fender Brown harmonic tremolo is very nice too, but is not so much about amplitude modulation as about harmonic modulation.