When Steve Carr phoned me earlier this year in the Spring of 2007 and asked if I'd like to run a new prototype amplifier through it's paces, it didn't take long to accept the offer.  After all, as a regular user of his products since the beginning days of his company in the late '90s,  I knew how in-tune Steve's sonic goals seemed to be with mine.  There's just something about a Carr Amplifier that makes me feel at home when I plug into one.  Actually, the Carr factory in Pittsboro, NC  isn't too far from my home.  I've documented on many occasions how the Tar Heel state is stocked with an abundant array of gear manufacturers, from talented luthiers and effects producers to amp builders.  To me, Carr Amplifiers are not just homegrown products-  they are world-class musical tools that stand at the pinnacle of amp design alongside some of the classics in the industry.  From humble beginnings with a couple of employees  in a shed outside Chapel Hill, NC to a present-day  factory with a dozen workers in Pittsboro,  Carr has seen his client base extend throughout the United States and internationally as well.  A number of well-known players have used Carr Amps, and there is no slowing down in sight in terms of demand.

The Vincent amplifier represents the latest Carr product to be featured in the Steelbender Spotlight.  For this profile, Steve sent a 1x12 combo version in black tolex.  As with all Carr amplifiers, this model is available in a variety of configurations and colors, including a 2x12 combo and the newly-released head version.  Our 1x12 test combo has a retail price of $2490 US.   The 2x12 adds $200 to the MSRP.

The amplifier evaluated in this article was a prototype combo that was basically the same as the subsequent production version.  One of the primary differences is that the production model features a vent covered with a metal plate on the right side of the cabinet.  While it does provide some heat dissipation for the tubes and electronics inside,  Steve says the primary purpose for it is to act as an acoustic vent thus allowing the enormous buildup of sound to release and "even out" the tones.  Believe me, the Vincent is one loud little amp when you want it to be.  In fact, there's quite a remarkable amount of volume coming from such a small package (more on that in a bit).  After spending some time with the prototype, I later purchased a production model for my own use and if anything, found the consumer edition to be a more refined and sonically-pleasing example than the test unit.   This bodes well for potential buyers, and I can say that of the several Vincents I've encountered, there is a high consistency factor.
 
 

So what is this amp?  The Vincent is a true point-to-point handwired dual 6L6 push-pull cathode biased Class A amp.  That seems like a mouthful doesn't it?  Speaking of mouthfuls, let's go ahead and get something out of the way that's already been asked of me a number of times by fellow guitarists.  "What's the difference between the Carr Rambler and the Vincent?"   In culinary terms, I would describe the Rambler as "lobster in melted butter" and the Vincent as "fancy shrimp dipped in a spicy horseradish sauce."   Comparing the two amps is valid both from mechanical and aesthetic perspectives.  "When developing the Vincent, I used the Rambler as a starting point," says Steve Carr.  "The prototype started from the Rambler, but I wanted to take things in a new direction while retaining certain things that I like from it."  One of those things was to take the Vincent as a 6L6-based platform and as Carr says "bias it deeply into Class A."   This results in the Vincent running its tubes harder for a more forward and throaty sound.  "I don't see too many people doing a 6L6 Class A sound, so I felt like addressing this with the Vincent," he continues.  "With the Vincent, we get a lot more clean headroom and volume than the Rambler; but there are still a number of differences between the two models.  We have customers who keep their Ramblers even after purchasing Vincents because they in fact do different things."

While both the Rambler and Vincent are cathode-biased amplifiers, the latter is unique because each tube has its own resistor as opposed to the Rambler's typical shared-resistor format.  Carr says "The Rambler is a 'prettier' sounding amp and the shared-resistor setup is more like an old tweed model.  The Vincent is more like an old Matamp or some of the 60's hi-fi gear with the way we engineered it."  One of the good things about cathode-biased amps, is that they don't need to have a bias adjustment when its time to change tubes.  This is particularly convenient for the techno-phobe who either has a tube go bad, or simply wants to experiment with a variety of power tubes.  "Another thing about the Vincent," shares Carr, "is that you don't have to use a matched set of tubes because the amp automatically adjusts itself to accommodate what you're using.  In fact, I've heard some really interesting sounds by intentionally using mismatched sets in the Vincent.  However, most people will probably want to use matched sets."   Currently, Carr is using Winged C's as his power tubes of choice in the Vincent.  On a personal note, I've experimented with a few different tube types in other 6L6 amps and I've really liked the Winged C's that I've tried.
 
 

Users of the Rambler will immediately feel a consistency in the cosmetic aspects of the Vincent.  The graphics of the control panel are very similar, using Carr's quirky yet legible style.  I term Carr's visual approach as "retro-future".  It's almost as if these amps were being drawn up decades ago with an eye toward being ultra modern in that time period.  At first glance, the biggest difference visually between the Vincent and Rambler is the design of the cabinet in front of the amp.  The distinctive cut of the wood traversing the grill cloth is a decorative touch, and has minimal impact on the sound coming from the speaker behind it.  When I first saw the photos of the prototype on the drawing board, I honestly wasn't sure if I liked it; but I found the amp to be much more attractive in person.   The 1x12 Vincent is physically smaller but heavier than the 1x12 Rambler.   Measuring 21" wide x  16.25" and 10" at it's deepest point, the Vinnie sits low and stout like a bulldog while tipping the scales at 45 lbs.  The amp feels much denser than its exterior size would indicate; but despite its relative heft, transporting the Vincent is still easy enough to classify it as a "grab and go" rig.

Don't mistake the Vincent, however, for simply a hopped-up Rambler.  As Carr mentioned before, both amps do share some traits; yet the Vincent is its own animal.  Where the Rambler has a very warm and syrupy sound with reverb, tremolo and moderate overdriving capabilities on tap, the Vincent is stiffer, glassier and capable of much more gain on its own.  The Vincent does feature Carr's trademark lush reverb; but instead of a tremolo, it has a footswitchable boost system that Steve calls "the pedal killer" in commercial ads for the model.  The overall voicing of the amp is more aggressive and present-sounding than the Rambler.  In this case, aggressive doesn't necessarily mean the Vincent should be equated with what many  would call "high gain amplifiers".  In comparison to the Rambler, the Vincent's notes seem to jump out quicker and in a louder fashion, while still retaining a wonderful balance between sweetness and chime.  This is an organic and rootsy kind of setup that rewards dynamic playing styles. The layout  is simple enough to dial in great clean and gritty tones with minimal fuss.  Add any kind of pedal you desire to the mix, including a heavy gain distortion pedal, and the Vincent can tackle just about anything.
 
 

Let's drop the Rambler comparisons from here on out because the Vincent is truly different enough to merit its own time in the Spotlight.
 
 

The Vincent's control panel is very easy to use once a couple of features are explained, namely the boost and drive functions.  From left to right, the Vincent's panel features an input jack, volume control, treble, mid (which also serves to activate the boost function when turned fully counterclockwise and the boost's footswitch isn't being used), bass, reverb, drive and power selector.  The Vinnie's power section is switchable from 7 to 33 watts.

This unit is not really a channel-switching amp; yet there are some functional similarities when integrating the boost feature on the Carr.   Not to be confused with the drive function, the boost is capable of pushing the amp into louder and gainier territories when engaged.  When the Vincent's volume control is low and the boost in turned on, there will be a big volume jump.  With the Vincent's volume at about halfway, the boost adds sustain and a moderate increase in overall levels.  Turn the Vinnie all the way up, and the boost will deliver a tone filled with singing sustain.  "The boost partially defeats the tone-stack and we add some tone shaping to come up with a very balanced and musical sound," offers Carr.  A footswitch to activate the boost is included with the amp; but when the pedal is not in use, the feature can be engaged by turning the mid control all the way down until it clicks.  Since the tone stack is basically being defeated when the boost is on, the middle control isn't necessary.

The Vincent also does not incorporate a traditional master volume setup as having the drive control might indicate.  Steve Carr says "The Vincent's drive is actually more like a tone control.  You set your volume, and then as you increase the drive, the impression of clarity and snap increases.  The volume and drive knobs are interactive in the sense that the more the volume is turned up, then the more effect the drive knob has."  Carr continues "Somebody described the drive control as adding the effect of an '800 lb. harpsichord' to the tone."   Steve's favorite way to use the Vincent is to set the volume about halfway up, adjust the treble and drive knobs to taste, and then use the boost pedal at these settings for his lead sound, thus eliminating his need for any external pedals.
 
 

Here are some internal shots of the point-to-point wired Vincent:
 
 

Steve's current speaker of choice for both the 1x12 and 2x12 Vincent is the Eminence Wizard.   Rated at 75 watts, this particular speaker takes full advantage of the Vincent's high clean headroom possibilities; but does not compromise when the amp is overdriven, as it remains smooth with good bottom end articulation.  "The Wizard is supposedly inspired by the Celestion G12H but I notice a difference between the two because the Wizard has more of what I call the 'jump factor' where the notes leap out of it, and it also handles blackface-style tones rather well," says Carr.
 
 

From a tactile standpoint, everything feels buttoned-down and tight on the Vincent.  In fact, as an owner of numerous Carrs through the years from the early days on up to the present,  I believe the sensation of quality from the cabinetry on down to small details, such as the amp handle, has improved markedly.  That's saying something since the older amps are not slouches.  "We're doing everything on premises now with the exception of the transformers and chassis being custom-made off-site" Carr informs.  "We have a twelve man operation here at the shop now, with a full cabinetry division that does everything from in-house design, to tolexing and boxing for shipment.  As a result, I believe we are achieving our highest standards of quality ever."

Carr is still using "hospital grade" plugs on all of their amps, and the Vincent's power cable is delightfully long enough for those stages where you might have forgotten an extension box.  As for the amp handles, most of you know how much I value the importance of what might seem to be such a minute part of a rig.  Anytime you are carrying a significant amount of weight in one hand for an extended walk, trust me-  a good solid and comfortable handle will make the job easier.  Carr is now using first-class handles akin to what other top manufacturers such as Matchless and Two-Rock, for instance, are installing.  Further evidence that Carr is constantly making improvements to their products.
 
 

I am going to get to the point right here and say that I'm knocked out by the flexibility of the Carr Vincent.  First off, just because an amp is loud, doesn't mean it's a good sounding amp.  Pure power alone doesn't necessarily equate with good tone in my book.  At 33 watts, the Vincent seems moderately powered on paper; but as I mentioned before, I don't think I've ever encountered an amplifier with such small dimensions that puts out as much sound and perceived volume as this one does.  I will add that it's "good tone" sound and not ear-fatiguing.   If there has ever been a Steelbender Spotlight where I feel like I've exposed the gear in question to the full-spectrum of my applications before writing about it, this is the one.  I spent about two weeks with the original prototype, which is what you will hear and see in this article's accompanying audio and video sections.  A little while after returning the prototype to Carr, I purchased a straight off-the-rack production Vincent for myself.

In just the last couple of months, I've used my personal Vincent in a variety of situations.   I've played it both miked and unmiked at gigs.  I've used it at indoor venues, and outdoors at a festival with several hundred audience members in tow.   I've played it in a trio situation, as well as with a "guitar army" ensemble featuring five guitarists blasting away onstage!  I've used it with small and very large pro P.A. systems.  It's even gotten use in my recording studio.   There have been a few times where I brought my Vincent to a show and was accompanied by players using stacks of much higher-powered amps.  At one event in particular, players were asking what "that little amp" was, astounded by the punch and presence coming out of the diminutive box.  In all of these environments, even those where some heavier artillery was being used, I have not found the Vincent to be lacking.  Let me put it this way:  if you need more volume than this amp, then you're too loud (or the others you're playing with are).  Plus, at the end of the night, it's a REAL pleasure to be able to walk out of the door with my guitar on my back and my amp in one hand.

Every guitarist certainly has different tastes and values.  I don't think there's one amp in the universe that will do what every player wants.  For where my head is at now on my musical journey, I just can't say how thrilled I am with this new Carr design.  It doesn't mean I'm getting rid of my other amplifiers nor does it mean I'll stop buying other amps.  I certainly own a variety of gear that does different things than what the Vincent does.  However, the Vincent is so versatile and covers so many of the bases that I attempt to reach musically, that it has become my first-call rig for just about everything that I do these days.  I love how my effects pedals interface with the amp.  I love the quietness of the product.  It feels solid and sounds rich.   It's easy to move around.  It's loud enough to gig with in just about any situation.   I just played an event with several other guitarists and I kept the Vincent in its 7 watt mode UNMIKED......it still cut through loud and clear.   Moving up to 33 watts provides as much clean headroom as I think I'd ever need in an amp ( you're looking at a guy who has used Fender Twins, etc....in the past).   The 7 watt setting is potent yet very manageable.  Most of my playing is done in this mode.

Has Steve Carr built the perfect amp?   Well, the Vincent doesn't have a tremolo (not that a trem is overly important since there are some great pedal-based effects on the market).   It doesn't have a bar or jacuzzi in the back of it.  There's no flat-screen TV to be found in it either.   Other than that, though, he's getting pretty darn close to nailing what I would dream of in an all-purpose amp suiting my playing style.  As with any gear item, I'd advise finding one and checking it out in advance.  You might fall in love with the Vincent just like I have.

For more information on Carr Amplifiers, visit the official website at:   www.carramps.com

or contact them at:

e-mail: info@carramps.com
 

433 Salisbury St.
Pittsboro, NC 27312
 

Phone:   (919) 545-0747

             (919) 545-0749 fax