Carr Amplifiers Slant 6V

I have the '09 model, with circuit modifications for NAMM 2008. In the '09 serials, Steve removed the FX loop (which dramatically improves tone) and added reverb on the overdrive channel as a standard feature. I like the reverb on the overdrive setting, because it adds a little volume to the tone, but I never set reverb above 8 O'clock. Unlike most amps, the tone knobs have a dramatic effect, and be used to dial in a crunchy LP or a twangy telecaster. There's more than enough headroom in the amp to carry a 500 capacity club with no mic at the 40W setting, and the half-power settings are great for recording, effectively giving you a choice between fender blackface or vintage vox tone. The footswitchable boost is really handy, and sounds great on both clean and dirty channels. I just wish that carr built a tremolo into the circuit, but as others have stated, it takes pedals really well, and a decent tremolo pedal is pretty cheap.

Now let's make this clear. There's no such thing as the BEST tone. Only the best amp for your style. Rivera and Bogner make fantastic sounding amps, but they have a high-gain sound thats better suited for heavy rock and metal. This amp performs best in clean, low and mid-gain settings. It plays with the touch and tone of a vintage blackface, but tightness and punch of vox or marshall. It will take a little getting used to, but it's extremely sensitive to your picking dynamics. It can be sweet and tender with fingerpicking and light attack, or bark and growl with aggressive attack. I play a G&L bluesboy (Seymour Duncan SH-55 Humbucker) and G&L Legacy Special (twin blade single coils). It sounds fantastic with either guitar, although you'll need to use the tone knobs to dial in the best tone for each. One of the best features about this amp, is that even at high volume with lots of distortion, the amp is dead quiet. It makes it a fantastic studio amp, albeit a little overpowered.

The quality of the build is really incredible. Its one thing to see pictures of it on the internet, and quite another to pick it up and feel the sturdiness of the leather handle and the durability of the tolex. Heck, even the power cord looks and feels like a great component. And if that doesn't give you the warm and fuzzies, there's a limited lifetime warranty on these amps.

I called and emailed the shop several times when I was searching for a new amp. I'll say this: as amazing as their product is, their customer service is the reason I bought a Carr amp. I called the shop asking questions about each of their models, and they were patient, knowledgeable, and really helpful. They asked a few questions about my present rig, the kind of music I played, and the kind of tone I was looking for. Then, they made a couple of recommendations based on my answers. Afterwards, I had some trouble finding a dealer with one in stock (these amps sell faster than they can build them), and they were really helpful. There's no reason I wouldn't want to support a company that takes such good care of their customers.

You know, there's a reason why Carr doesn't need to advertise or promote their gear to sell it. It speaks for itself. There's a reason why the guitarists from Neko Case, The New Pornographers, Wilco, The Decemberists, My Morning Jacket, The Hold Steady, The Strokes, Aerosmith all use Carr amplifiers. Its because they build the best product around, and they treat people right.

Features have already been described. Mine has reverb on channel one only and the footswitchable boost (which is really useful). I don't miss reverb on the overdrive channel (I would never use it anyway).

I basically needed a channel switching amp to replace my Lonestar Classic and Stiletto Ace combos (both great amps). They weigh a ton and I was getting sick of lugging these monsters around to gigs. However, I wanted something that would get close to their basic clean and dirty sounds. I tried the Express but couldn't dial in the sound I needed so I auditioned the Carr. 'Nuff said.

I have the 1*12 combo. Great to have the half power options for difference voicings - voxy lady anyone?

I play mostly U2, Queen, Dream Theater, Led Zeppelin, Vai and Hendrix and this amp will cover all these bases, with a little help from the FX.

In short, everything you need, nothing you really miss (except perhaps a master volume on channel one). 40 watts is way loud enough for my needs.

I had similar experiences to some described here, with the voicing on the clean channel being quite bright for me. Three things helped here:

1. Bypassing the effects loop. This seemed to be altering the tone, even though I was only using a Fulltone TTE in the loop. But taking it out and switching on the bypass seems to have made a big difference to the warmth of the sound.

2. Some minor surgery - I emailed Carr amps and even over the recent xmas hols, I got a response from Steve and his team.

I had read somewhere that the amp had some similarities to the Fender Deluxe Reverb, which many of you will know has a treble bleed 47 pf capacitor on the volume to prevent treble loss at lower volumes. I had read about snipping this, and the guys confirmed that this might help, especially as I play with the volume less than 12 o'clock most of the time. Worked a treat!

BTW, this gave me the opportunity to see the work of art that the amp's innards are. Truly magnificent!

3. Expert information: Steve Carr also explained that the tone controls are very interactive and this was something I wasn't expecting, as most boutique amps tend to have fairly limited tonal ranges (I'm generalising of course). A few tweaks with the controls and I have the most beautiful sounding clean channel I've ever heard. The notes just bloom and sustain forever, and it really does sound like there is a chorus pedal there.

The speaker definitely needs to be opened up, but when it is, the rewards are immense.

As noted, this amp (without effects) is primarily a vintage/classic tone machine, so don't expect to get Pantera...however, with the ZVEX Box of Metal in front of the clean channel, I can get the Dream Theater/Petrucci sound that I love so much.

The OD channel, with master volume and boost, is excellent and easily gets you into classic rock territory without any problems at all.

The different voicings allow a Vox tonality in cathode bias with a bit more punch in fixed bias.

Looks rock solid.

Can't speak more highly of them.

I play a PRS 513 and two Petrucci signatures. I have a Collings acoustic. This amp is the best I've had (so far - hey, I'm a guitarist...)

For portability, power and performance, it is hard to beat. It is worth the price of entry.

Terrific amp in every way. I traded a BadCat Hot Cat 30 for the Slant 6V (1-12 combo). Problem with the BadCat is that it just didn't work with pedals. The Carr is an entirely different animal. Covers the clean Fender sound and works it's way into AC 30 territory. Really like the fixed/cathode bias option. Very versitile and can go any where you want to go. Great verb and has pleny of power for most gigs. Also, it doesn't kill my back with undue weight.

Great. This thing is the musical amp i've ever had and i've had a bunch. Takes pedals great. Distortion is terrific and the channel switching is a great feature. The sound is where this amp shines. It sags in all the right places!

I bought it used. No problems yet. I've email'd Steve Carr and he has always responded in a courteous way. Nice personal touch

see above!

Been playing for abou 35 years. I'm mostly a pop/session player. Have lots of strats, tele's and the odd 335. Pedals are Line 6 delay, Mod modeller, full drive 2, sparkle drive, Barber LTD, Boss DD20 etc. If it got stolen, i'd buy another one. For me, it is the best Fender i've ever played ... plus one of the better class A amps. Very versitile. Takes anything you can throw at it. (unless you're a metal head) For me, the Carr is way more flexible and better sounding than any BadCat I've played. Glad i got ahold of it.

The amps features are well described on their web site and in prior reviews. I've had mine over 4 years and it does not have reverb on the lead channel.
It's a great musical instrument in it's own right, but that's not the reason for this posting - Carr's great product and customer support is. Please read on....

The straight rhythm tones are to die for. I play classic rock and judging by the number of guitarists that inquire about my tone and very positive comments from the public, this is one amp that actually delivers the goods. Classic rock covers a lot of ground and between your choice of pedals and the amps wonderful lead voicing???s it???s hard to imagine a sound that the amp is not capable of.
We play venues up to 400 or more and unless it???s outdoors or a really huge room I don???t usually even mike it. It???s got punch and really cuts through the mix. Another very desirable attribute is that the amp really fills the stage nicely ??? I???ve owned Matchless, several Mesa Boogies and a Marshall and none even come close in my opinion.
I could rate it a 10 but nothings perfect!

I've never had a problem with the amp. Over the years I've had to communicate with the manufacturer several times and always recieved prompt call backs - most times from Steve Carr himself.

I run many pedals into the clean channel including, Pete Cornish SS-2, G-2 and P-2, Fulltone OCD, Kelley BD-2, Analogman DS-1, Xotic etc. and one of the great things about this amp is how well it responds to just about any pedal. I use a MIDI switcher for pedal selection and run a T.C. G-Major through the effects loop. Steve Carr provided a special cable that lets me switch between rhythm and the Lo Gain and High Gain lead channels via MIDI.
I've been playing guitar for about 20 years now and have never experienced the high level of support by any other manufacturer period. Matter of fact none even come close.
Last week the cable that allows me to switch channels via MIDI stopped working. I called for help and Steve Carr personally returned my call. I indicated that I had a gig in two weeks and that I could get by but wished he could make me two cables (so I've go backup) before then. The conversation happened on Wednesday and I had the cables Monday (I'm in Michigan).
I've always been treated with dignity and respect By Steve and his organization - regardless of whom I spoke with. It's a company that's dedicated to giving the customer more than they expect! It's one of the best in the business - believe it!!!

As stated earlier I just turned 60 and have been playing a little less than 20 years. I'm currently playing Classic Rock in a four piece band (2 guitars, bass and drums). People often comment that we've got a big sound for a small group and I believe a lot of it has to do with the Slant 6.
One of the main reasons I choose the Slant is that at about 50 pounds, it's light enough to gig with - without having a Chiropractor on the payroll.
Carr makes other amps as well as the Slant 6 and although I've not had the opportunity to sample them, I suspect they are outstanding in their own ways.
Carr amps are designed and constructed to keep working. They offer the working musician confidence that his gear will function properly and earn it's keep at every gig. While not inexpensive they are most certainly worth every cent!

1 x 12" Kingpin 60 Speaker, 40 Watts, Two Channels, Footswitch, Switchable Impedance - 4, 8, 16 Ohms, Tubes: 5AR4 Rectifier, 6V6 EH Output, Full/Fixed Bias/Cathode Bias Switch, Spring Reverb on Clean Channel. Weight ~55Lbs. Retail Price $2,890.00

Playing ASAT Classic Custom. Clean channel is really good. The gain channel is really good. It's an interesting mix. It really is like combining a fixed and a cathode, well, that's what it is after all. But you get a really full-bodied crunch. It's not ear-achy like some of the Fender amps I have heard. Both modes sound good individually, and as you would expect. But in full power mode [ which is the combined mode ] it really has a full sound. Neil Young "Rockin' In the Free World" sort of comes to mind as the kind of full crunch I'm getting. Not excessively bright, but very full across the whole range. Rush "Lakeside Park" is a pretty good approximation I think as well.

Well, it's a 2001, and it's near mint. It is a tube amp after all. I mean, tubes are tubes. So... we'll have to wait and see. People who want something reliable buy solid state. People who want magic buy tubes.

I hear it is excellent. They did the testing and re-tubing before I bought it, and it sounds fantastic, so they must know something about what they are doing... :)

I'm a newbie. But I have a pretty good ear [ audiophile. ] I've listened to a few amps, and this one does have a great sound in this particular setup. It looks like a lot of people are buying the Carr Rambler or Carr Hammerhead these days, so it would be nice to compare with those. But I'm pretty well satisfied with this sound.

Some of the nits I would pick are the control ranges--that is, there is a lot of power in the first few notches of the volume. The other nit I would pick is that you are supposed to pay attention to switching impedance when you switch between the 3 different modes. Not a biggy, but you do have to remember to do that. Final nit is that the pots do turn pretty easily, so you do have to have a light touch when you are changing settings.

I don't have an LP here, so I can't really say much about that. But I do think this is a great match for either Tele or Strat types of axes. The G&L's is a really nice guitar, by the way.

You've read the other reviews. I have the head unit only. 2 channel, tone controls that really make a huge difference, reverb, two levels of overdrive available besides "master". Can operate in 3 different tube modes -- cathode 18 watt, fixed @ 20 watt and combined about 40. Handles 4, 8 and 16 ohms. Doesn't need pedals.

I haven't found anything I'm likely to play that this head cannot cover. I play blues, old and new, older rock, older country and a little jazz and "who knows" thrown in. Adjusting any tone control by even a digit or two does make a difference. Just this evening, after using this amp regularly for the last 4 months, found some delightful jazz and hollow body sounds with my variax. May not do metal but I"m not likely to find out. On the other hand, old Ozzie sounds great. Its quiet but will pick up line noise if ground isn't lifted. Great range from very clean to extreme blues tube overdrive. Great old Neil Young LP/Exploding Deluxe tones as well.

Seems very reliable. Solidly built. I have used without a backup.

Purchased on ebay used.

I've been playing (after a 30 year layoff) about 3 years. Play out once or twice a week. Usually in small club where I use the cathode 18 watt output with an open backed 12" Eminence speaker in a Randall Cabinet. Sounds MUCH bigger and I'm only running about 5-6. I've also used it wide open with 4X10 cabinet from VHT. Huge.
I play principally Ed Roman Quicksilver and Variax guitars. Occasionally a Clapton strat. I also use Analogman modified Boss delay and Blues Driver, a Boss Tremolo and a Holy Grail Reverb, which sounds nicer than the amp's reverb -- though in moderation they sound great combined. But I've also gigged without the pedals and the amp is just outstanding. Having tried it with a variety of guitars, it seems to sound best if you don't hit it with really high gain pickups. Let the amp work for you. It doesn't disappoint.

Just a quick response to Anonymous responding to Gareth, I too bought my Slant 6 sight unseen (I live in the boonies) and struggled with the tightness of the speakers at first. (Of course I had been playing the same Marshall half stack with 25 watt Celestions for over 20 years so my ears were accustomed to a much looser sound.) I found that the speakers 'broke in' after about 10-12 hours of playing. I wondered if I was just getting accustomed to it but then I had a speaker problem (see review below) and with the new speakers I had the same experience. They mellowed--loosened up after some good hard playing. I would suggest if you are buying a Slant 6, which is a great idea, to do the "max test." Turn it up all the way, stand in another room if you have to--for 40 watts this thing is LOUD, and blast for a while. The speakers will love you for it.

Every time I play I am transported by the tone of this amp. Its dynamic response has made me a better player and each pickup setting on my guitar reacts with the amp in a unique and amazing way. It's like having five different guitars in my hand. Believe me, the Slant 6 is worth every penny.

Just a post in response to Gareth's review. I auditioned a Slant6 about 2 years ago that a distributor left at one of my music store hangouts. I was floored by the thing, but my funds were not up to it at the time. About 8 months later (after saving up & trading off & living on 99 cent @ pack hotdogs)I bought a new one sihgt unseen. When I recieved it I had much the same expierence as Gareth concerning the treble response. BUT after a couple weeks of fairly intense playing sessions the amp really opened up and smoothed out. The amp (most likley the speaker) just needed a good break-in. The honeymoon is still going on for me with this amp after a year and a half. This is the ONLY piece of equipment I've ever owned in my 20+ years of playing that holds as much appeal for me now as it did when it was new. My search for amp TONE is over!

I have owned my Slant 6 for two and a half years (bought 11/2000) and I play in a variety rock band. This is my only amp. We cover everything from the 60's to today and play a few originals as well and I have all the sounds I want with this amp. Clean and crisp with lots of headroom, or warm and clean with a jazzy--meaty sound, plus two gain options on the distortion side. With a flip of the switch I go from 'AC/DC' to 'Three Doors Down,' then change channels for a 'Pretenders' tune.Plenty of power--I play in small and medium clubs and have never miked it except for large outside gigs. I used to own a Fender and a Marshall half stack and this covers all that terrain and weighs a lot less as well! It does not do the super saturated buzzy high gain sound--which I hate--so it does not bother me. The distortion is meaty and tight, but the notes ring out clear and distinct.This is a basic, hand wired tube amp. It's beautiful in its simplicity. I love to look at the insides. I show it off to other amp nerds.I also like the dual power section, fixed bias and cathode bias, and though there is not much volume difference when dropping down to half power, the character of the secondary harmonics is very distinguishable between the class A and class A/B power plants. Very cool.

I play a 1991 PRS CE 24 and a Rickenbacker 620/12. I use almost no FX (a delay on three songs and a wah on four songs--otherwise, its just the guitar and the amp.) What I am most impressed with is the dynamic character of the amp. I like to vary my picking intensity and position and this amp responds fantastically. I particularily like the sound of my 12 string when I strum right up against the bridge. I also use my guitar volume control to clean up and 'darken' the tone.

Like most basic tube amps this one sounds best turned up a bit. The bass comes alive and the distortion gets smoother and fatter. Some amps compensate for this with lots of circuitry so they sound like a recording at music store volumes--but turn this baby up a bit and you're in tone heaven!

When I first ordered this amp (which was built in great time with the cosmetics I wanted) I had some trouble with it in the first month or so. Apparently a few bad speakers had found their way into the run and I got two of them. They malfuncitoned and took a couple tubes and screen resistors with them.

After this problem was resolved (Steve and the Carr guys were great) I have not had another problem with it since. That was two and a half years ago.

It is my only amp, I have no backup.

Could not be better. Steve, Tim, and Forrest did everything possible to keep me happy and have responded personally to all my questions and concerns. I feel I know them personally though we have never met.

My friends and I had an amp jam; we had a '72 marshall 100w half stack, a '79 50w halfstack , three Fenders- a blackface Twin reissue, an early '60s bassman, and an old tube Princeton, a Matchless DC30, two Matchless Chieftains, one Lightning, and one Clubman and my Carr all in the same room. While each had its own character and unique vibe, my Carr hung with all of them in terms of tone, volume, and overall coolness. The only amp which could compare with its versatility (clean headroom and distortion tones) was the DC30 which, incidentally-- costs much more, weighs much more, and does not have reverb. I prefer my Slant 6V6.

If I lost this amp I'd just order another one. Only drawback is that it is kinda pricey-- but worth it!

I recently did a short tour with Coco Montoya, playing a few festivals in California. Coco had just taken delivery of a new SLANT 6 with a 4-10 bottom, but elected to let me use it. He had not yet had time to 'acclimate' from his usual rig (red knob Fender Showman into 2-12's) to the new Carr. While I basically played rhythm, I did get to play a few solos. For the most part, this amp blew me away with its tone and power. This is a channel switching amp, but there's no reverb on the high-gain/distortion channel. I'm sure Steve will fix that.......

I played my '76 Les Paul Custom thru some LINE 6 pedals (distortion, modulation, and echo) into the clean channel of the Carr. I couldn't get used to having no reverb on the distortion channel, so I used the LINE 6 yellow pedal for solos. The tone controls on the Carr are very reminiscent of vintage Fender amps. The clean channel styed very clean at extreme volume.

I only used this amp on 4 gigs.....not enough to truly evaluate reliability.

I've been playing 40+ years. My main amp is a Music Man RD-100 switching head into 2 JBL E-110's. If I could afford the CARR, I'd buy it today!! Most impressive was this amp's (and 4-10 speaker cab's) relatively light weight - very easy to carry.