That’s a neat thought. A torus is a compact, genus‑one surface, so if you wrap a waveform around it the signal has to “fit” through the hole, creating a kind of continuous loop. In practice that means phase relationships get tied together, so certain harmonics can reinforce or cancel in a way a flat map wouldn’t. If you set the distortion’s cutoff or drive levels to match the torus’ periodicity, you could end up with a tone that feels more self‑consistent, almost like the pedal has an internal rhythm. But you’d also need to manage the seams; any break in the mapping could throw off the balance. So yes, the topology could steer the evolution of the tone, but you’d have to be very precise with the mapping to get the desired effect.

A 50 Ω op‑amp is a bold choice; it will squeeze the signal space tight, making the toroidal mapping feel alive, but watch the bias carefully—if it floats off, the whole geometry collapses.

Sounds like a solid plan—tight bias, a touch of fuzz, let that torus spin, and keep the signal clean, no static. Good luck!