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Pre-owned Carr Hammerhead MKII Head. In excellent condition, with Carr custom soft shell case. The tolex is in great shape and shows only the slightest signs of use. Very unique amp that sounds as pure as it gets! Matching Carr 2x12 cabinet is also available.
Model: Hammerhead MkII
Tubes: El-34 x2 (GT), 12AX7 x2 (1 JJ, 1 Sovtek)
Output: 8 ohm, 16 ohm
The Carr Hammerhead MK II offers rich output tube overdrive with a unique personality and super simple signal path. Rock, hot blues, and pop guitarists will find wide range of tones from semi-clean to full on overdrive with just the right amount of vintage funk. The MK II offers a new single knob tone circuit with On/Off switch. Fully redesigned power supply vastly improving openness and feel while increasing sustain and clarity.
From Guitar Player Review:
Despite its few controls, the Hammerhead offers several useful tonal options. The volume and master knobs are self-explanatory, but the 4-position Impact and Grip controls are less intuitive. Before explaining how they work, it is worth noting that the Hammerhead features no tone controls in the direct signal path. The Impact and Grip controls act in parallel to emphasize treble and bass frequencies, while leaving the pure amp tone intact. Whoa! Let's try that again.
How Impact sounds: At lower volumes, switching the Impact knob to its second position produces a subtle bright boost. Going from 2 to 3 creates the most dramatic change by boosting upper mids for a louder, brighter tone with more gain. Position 4 bumps the low mids in a very subtle way. Interestingly, at higher gain settings (anything above three o'clock), the Impact control has no effect.
What Grip does: The Grip switch works by adding bypass caps around the cathodes of the phase inverter and the cathode bias output stage.
How Grip sounds: Once again, the biggest difference is between positions 2 and 3 where there's a big jump in volume, low-mid thump, and distortion. Plugging into the Hammerhead produces a rich, dimensional sound with great overtones and punch. Carr says that the amp was designed to produce power-tube overdrive at reasonable volume levels for hot blues, slide, and classic rock tones. They definitely make good on that claim. A Les Paul sounded fat and squawky at lower volumes, and drifted effortlessly into singing sustain with the gain up past halfway. No matter what guitar was plugged into it, the Hammerhead was very quiet, even with both volumes cranked. It also remained beautifully dynamic, responding to changes in the guitar's volume and also to different picking attacks.