All user reviews for the Carlton Camel 100

Amplifier all lamps (4 EL34 and three 12AX7) with Accutronics reverb 3 springs and a 12 HP Celestion. 3 switches (hump) on the front to boost the sound or switch channel A (without clear hump on) Channel B (crunch / saturation).
100 watts sending very strong. Having knobs after cleaning, it may become "almost an amp apartment warm becoming the dice volume tenth reached. (Unlike some kind Fender blues deluxe). No need power braker.
For the record, Carlton was a small Scottish company which offered 90 years in 1996 (I found the pub on August 96 Guitar and keyboards) 3 amp types:
(Hybrid): Camel T 65 and 100 watts;
(All lamps): Camel FT 50 and 100 watts;
(Transistor): Nomad 65 and 100 watts.
The success was immediate and dramatic, because believe the tests of time, the FT Camel proposed superb sound from light to full. The only problem is that reliability was not an appointment on the first models. Suddenly a lot of return for repair and a company not yet strong enough financially to cope with the many unforeseen work made it sank. Too bad, because as we will see below the sound is incredible and more Carlton had corrected this on the latest models (changing some components and adding stand-bye).

UTILIZATION

I made a personal guide on the possibilities of sound as it is not easy to navigate with different humps. Otherwise, the configuration is quite simple, a channel with Bass, Mid and Treble (Channel A) + volume, same for the B channel with Gain and controlled by a Master + a reverb for both channels.
Then face are 3 humps (2 Hump, Hump Switch 1 and channel A / B).
I'll try to summarize the possibilities (NH2 = 2 No hump engaged, H2 = 2 hump engaged, ditto for the others).
That is:
Channel A
NH1 NH2 + + NA / B = Clean
NH1 + H2 + NA / B = Clean a little cavernous
NH2 + H1 + NA / B = a crunch sound pretty punchy (not really but more bluesy rock / grunge (Sonic Youth style)
H1 + H2 + NA / B = fuzz sound really pretty and quite punchy
Channel B
NH1 NH2 + + A / B = super crunch
NH1 + H2 + A / B = + crunch
NH2 + H1 + A / B = drive
H1 + H2 + A / B = drive + + (Mesa style), big sound.

SOUNDS

The sounds are just plain beautiful and full.
I play with a strat clear sound really slap and remains deep and pure.
Saturated right on the B channel without hump switched the sound is perfect, it superbly crunch with the gain between 1 and 4 then this attack. With humps switched it passes metal.
In short, versatile and remains my reference amp hyper. In addition nobody knows and under his look blah blah lies a put *** amp that all my friends want to borrow me.

OVERALL OPINION

I for 1 year. In fact I wanted to buy one since I was 18 because I really was marked by a test on a type magazine 'Guitarist' in 1995 or the tester was amazed by the machine. He also wondered how it was so cheap compared to the competition. But as a student, an amp to 6000 francs it was not worth it (I was still at that time a Peavey Classic 212 and a Fender Blues Deluxe). In short, I bought in Spain a pittance. Sold as a 50 watts it is that it was a 100 watt (2 EL34 on 50w and 100w at 4). on the other hand I sent directly to a repairer because it creaked across a hump not work, the other evil, and not non-existent reverb stand bye. Given the rarity that I had on hand, I wanted the maximum reliability for the test in the clear had quite stopped me (you know the stuff you say you will play 5 minutes and it's your wife arrives after 3:00 to see if you're still alive).
I now have a new amp that hard to be shoes, everything works perfectly and it really remains superb with a stratovolcano. I do pay Tele Lite Ash tomorrow I think the result will be as superb.
About me so I had a Peavey Classic 212, a Fender Blues Deleuxe a Mesa Subway Rocket, a field 600 Fender mod, a RedBear. Anyway, I have some experiences and this one is still a good slap.
The quality / price is super attractive but you also need a repair in the corner for reliability if you have an early FT without stand bye.
I would do the experiment 1000 times if it had to be redone. Fall on such a nugget normally only happens in the movies.
Warning: as indicated must be with a big experience in electronics, a patient and competent repairman, but the game was worth the candle (bought for 75 euros and 100 euros more reliable).
A big thank you to Emilio Toulouse who did a great job.

The FT100 is an all-tube amp (except rectifying section ...) with 3 12AX7 preamp and 4 in EL34 for the power, delivering a good 100 watts through a Celestion G12H HP. It has two channels, each with a "boost" (called "hump" on the amp ..) which has the effect of increasing the saturation level, and just the overall volume. There are 3 band EQ on each channel independent, a gain setting of the first, and a general non-switchable reverb, but hey, just put 0 and then here.
What else? Footswitch digital (yeah, I know, it is useless, but it is good practice to use compared to old marshall footswitch, for against, galley to be replaced), adjustable bias, impedance when using a baffle , and a standby switch to change the mode pentode / triode. Other than that? Ben weighs a ton of course!)
Last thing: I have a power tube that farted -> bypass the pair the beast that is damaged and continues 50w .. cool right?
Update: I've seen talking to other users that there are several version of this amp, the oldest not allowing as many settings, especially in the back of the amp. For my part I have the latest apparently, so I do not care

UTILIZATION

In use, I find it very simple: OCCAZ bought ', I did not have the manual, but hey, it's an amp, it's not rocket science too! In short, it is relatively easy to use, even if there is no real master volume knob is marked despite a master me a little confused at first but good .. (In fact, it only supports the master channel 1 ... yeah I know it zarb &#39 In fact, there is a volume per channel and more gain.
The EQ controls are really effective, and gain settings work as expected. Changing channels is no catch, with a very low latency and no "cling" or "click". We can of course spend his natural "boost 2" of each channel without necessarily by a boost, which is not always the case.
Against by something, once you push the volume a bit (= more than 2, quite enough to see his neighbors land), you can hear the sound of a spring, a priori related to vibrations of the springs that keep the lights Power head down .. It is weak as his, and pushing a little volume we hear more, but hey, I'm quibbling eh ..!

SOUNDS

I played for a long time with a Yamaha RGX I know how many (2 doubles, a simple, typed Ibanez), with a Seymour Duncan JB in the bridge. I could easily get a very good sound, make it clear, and especially good that distos fart!
It was actually 6 different sounds: clear channel, clear channel boosted crunchy = 1, 2 = clear channel boosted big sound, but not oversaturated. Channel 2 standard: according to the microphones and the gain setting, we will clear the crunch, then the two "boosts" achieves the max sound hypersaturés.
The master of the second channel works so well, as such, but an amp of this power does not give his best even at low volume ... To be tested in some small concerts, increasing the volume really magnifies the sound, and it has the momentum! As against this, is often obliged to make new EQ settings, logic.
Recently I have a PRS CE 24 (eheh!) and I have to redo all my settings because of the potato microphones and sound completely different from the guitar, but I've already achieved more successful!
In short, we manage to have good sound, and I recommend it especially for all that is rock, hard, metal and Co. ... and not too much for the blues or jazz .. but you already knew that!

OVERALL OPINION

I use this amp for almost a year, and this is my first tube amp. I am very satisfied and I think to keep it a while, even if it means adding a good 4x12 cabinet.
Price level, I can not talk about it too, having bought OCCAZ 'to people thinking it did not work An important detail in cons: the brand no longer exists, and no trace info on this amp on the internet ... and it's not for lack of trying!
I love the distinction of having the "booster" that saturate at different levels the sound of each channel, giving a total of 6 sounds can be very different, for cons I regret the absence of a general master volume for each channel ... although they each have an independent volume control.
With experience, I do it again Certainties this choice, this amp responds very well to my needs (apart + again + concerts), with good sound ... AC and then the charm of having an amp that few people have the custom side!

It is an all-tube amp: 4 for the power stage and 2 smaller for the preamp.
There is only one front jack input plus an effects loop send and return, and a rear footswitch jack socket and a speaker out jack socket.
Be warned, this is 100 Watts with a single huge high power Celestion 12 (G12H-100).
I think it dates from the early 90s.
There are three front switches: channel A / B, Hump 1 and Hump 2, representing three different levels of saturation and a knob for the spring reverb. The amp comprises 2 channels: one clean and one saturated
Problem it weighs three tons!

UTILIZATION

To get a good sound just connect. The equalizers' treble, middle and bass on each channel are quite effective

SOUNDS

The sound is modern but also very hot
There are three levels of saturation:
a first rather soft, a second more crunchy and the third is the biggest with very serious FAT basses (I think it's to have a good Metal sound !): Very high quality!
But what's really amazing is the clean sound is crystal clear. I never tried it with a Strat, but the clean rhythm has to hurt !
I think it's thanks to the Celestion; the clear sound is incredible!

OVERALL OPINION

I have owned it since 2001 and the only downside is that it has no standby, which is very unusual for an all tube amp. So she has broken down once and I had to have it repaired.
I know vintage amps very well and although the clean sound of this one is different from the first Twin Reverbs (not comparable because the sound is more modern), nevertheless the quality is extremely high..
 As for saturation, it rather makes me think again of the Rivera type amps lately but not quite as good. I have never tried Mesa but I've seen guys on the forums that have compared the two : to see anyway ...
But in all cases Marshall, etc., can go to bed with their basic clean sounds .
If I had to buy this amp again I would not hesitate one second to pay twice what I originally paid for it, considering the price of pots they sell you ...
So my Carlton amp is NOT for sale, but if you find one, just buy it. (Last minor problem is that Carlton was a Scottish enterprise that closed some time ago).