Cool, check out a range if you can, because there's some pretty good variety in his stuff in terms of tubes and overall character. I like the Rambler a lot—I'd maybe describe it as being in the realm of a Supro Thunderbolt. As you add gain, it gets a little more blunt and growly. Good shit.
neonblack wrote:They say tone is in the hooks
D.o.S. wrote:I'm pretty sure moderation leads to Mustang Sally.
coldbrightsunlight wrote:Yes I am a soppy pop person at heart I think with noises round the edge
Rambler is my main gigging amp, I've used it for everything from country to ambient to metal (with pedals, obviously) when I couldn't lug out the stack. It isn't really much louder than the Sportsman, but in pentode mode, it stays cleaner further up the dial and has more of a detailed, crystalline, 3-D clean vs the Sportsman's somewhat sweeter, fatter voice. In triode, it gets more thick and tweedy and warm, but it's easier to get naturally hairy with the Sportsman thanks to the Headroom control. Rambler takes pedals like a fuckin' boss, though.
The Eristic wrote:Rambler is my main gigging amp, I've used it for everything from country to ambient to metal (with pedals, obviously) when I couldn't lug out the stack. It isn't really much louder than the Sportsman, but in pentode mode, it stays cleaner further up the dial and has more of a detailed, crystalline, 3-D clean vs the Sportsman's somewhat sweeter, fatter voice. In triode, it gets more thick and tweedy and warm, but it's easier to get naturally hairy with the Sportsman thanks to the Headroom control. Rambler takes pedals like a fuckin' boss, though.
Which one would you choose at very low volume (bedroom)?
"I can't understand why people are frightened of new ideas. I'm frightened of the old ones." --John Cage
Neither of them are ideal for bedroom volume, I'd go with the Mercury or Raleigh if I needed that. If it's only between the Sportsman and Rambler, though, it's the Rambler for me. I love that clarity.
I was thinking earlier about the blues lawyer thing... I think that's a logical quick assumption about a company like Carr, but I'd say it's ultimately a little off the mark. There's definitely that tone-obsessive element, but it's more a sort of chimey, pretty, complex kind of sound that lends itself especially well to expressive players who are more interesting than blooze jerkers. I think of people like Bill Frisell (who I know plays a Carr sometimes), David Lindley, Ry Cooder, Blake Mills, etc.. Plus they're capable of getting pretty nasty, too.
Not that anybody was trying to clown on Carr—that blues lawyer joke is one we all make quite a lot. I just kept thinking about it because I find Carr's offerings to be insanely beautiful and special. Can't recommend em enough, and I'm psyched to see how you feel after checkin' em out.
neonblack wrote:They say tone is in the hooks
D.o.S. wrote:I'm pretty sure moderation leads to Mustang Sally.
coldbrightsunlight wrote:Yes I am a soppy pop person at heart I think with noises round the edge
Yea, it's no secret I'm the backend guy for one of two of the OG brand-specific sites on the net, it was our "no religious talk" policy that was responsible directly for TGP.
I'm sorry.
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My pedalboard costs approximately 191 Metal Zones.
Back in the Stone Age, it was us, the on-again/off-again TDP(and later TDPRI) and the morass of stupid that was the old HC forums. I picked my battles, and the one thing I didn't put up with were the praise and worship kids going stupid. If it was as non-denominational as they claimed their beloved "Playing in church" thread wouldnt' have exploded when I talked about playing music for the Gnostic Mass.
Soon thereafter, TGP was born.
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My pedalboard costs approximately 191 Metal Zones.
I know—sometimes we just can't resist.
