product catalog

Trace History
In 1979, a music store in Essex, United Kingdom,
was building and hiring out PA systems to local
musicians. It soon became apparent that some
of this equipment was not being used simply as
PA but instead was being used by bass players,
who for so long had to put up with underpowered amplification that was often merely a
guitar amplifier with a modified tone circuit.
The store owner and staff soon realised the
potential of developing products specifically for
bass players that were more substantial in power
and offered greater tone shaping facilities than
what was previously available. Consequently,
a new brand emerged: Trace Elliot, the original
bass amplification specialist.
This new line of products included features such
as: a graphic equalizer based preamp with LED
level indication, XLR DI outputs, the now classic
mid Pre-Shape circuit that gives the instantly
recognisable Trace Elliot tone, PA type output
stages driving large bass reflex cabinets and also
the worlds first bass dedicated 4x 10” cabinet,
now an industry standard for all bass amp
lines. Visually striking, the units also featured a
glowing UV lamp to light up the front panel in
the now iconic green. The many influences from
sound reinforcement and studio equipment has
remained the primary factor in the Trace Elliot
design philosophy.
Due to the high quality and robust build of
this new brand, it quickly became known as
the serious amplification line that professional
bass players needed, and it wasn’t long before
many high profile players were using them. As
these products became more and more visible in
concerts and on TV, the demand grew throughout
the ‘80’s.
A decade later, with the bass products firmly
established, another niche was seized upon with
the introduction of the Trace Acoustic range.
With many innovative features (since then much
copied), these were the first truly successful
products of their type which satisfactorily
addressed many of the problems of amplifying
acoustic instruments. Changing the marketplace
again, this kind of product is now standard in
the range for most amplification companies.
The current products shown in this brochure
continue the Trace Elliot and Trace Acoustic
legacy and a clear bloodline in features, styling
and sound is apparent, albeit with state of the
art components, technology and manufacturing
processes.
Mike Kroeger and Trace —
All The Right Reasons
A
fter selling over 27 million
albums worldwide, climbing
numerous Billboard charts and
spending an astounding 112
consecutive weeks in the Top 30 of
Billboard’s Top 200, it might seem
ironic that Nickelback’s current album
is titled “Dark Horse.” But bassist
and founding member Mike Kroeger
doesn’t take their success for granted.
“Any artist that is even surviving right
now is a dark horse because things
change pretty fast,” says Kroeger.
2
“You’re a superstar one day and wake
up the next day and you’re anonymous.
To be successful in any way is beating
the odds right now, I think.”
Trace Elliot sat down with Mike
Kroeger backstage in Nashville,
Tenn., on the eve of the final leg of
their “Dark Horse” tour to discuss
Nickelback’s success, their amazing
live shows, and what he loves about his
Trace Elliot rig.
Trace Elliot: Six albums and 14 years as a
band. How has Nickelback changed over
time?
TE: How was it to work with him?
Mike Kroeger: I guess we’ve slowed
learned a great deal. I learned a great
deal about how to play bass from Mutt
- melodic playing. He was in a band in
the sixties - I think it was the sixties - he
was a bass player and singer. So the guy’s
been playing bass for a long time, and he’s
played on such a wide variety of things,
as well as produced and directed the play
of bass players on such a wide variety of
music that he brings all these ideas to
the table. The first time he would tell me
to try something or he would show me
something on the bass I’d just be like, “Oh
man, that’s like – I don’t know – that’s a
lot for me, you know?” I’m really simple,
a minimalist kind of person, especially as
it applies to playing the bass. He pushed
me out of that comfort zone of sticking to
what the drums are doing and moved me
to going to more melodic things, getting a
little more in touch with what the vocals
are doing to contribute to that melodic
structure.
down a little bit. You know, earlier on we
did our records a lot closer together. If
we kept at that pace we’d probably have
a lot more! [Laughs] But we’ve done a lot
more touring as a result of things going
blessedly well at the album level. Getting
some radio and a lot of touring, which is a
good sign!
TE: 2005’s “All The Right Reasons” sold
two million copies worldwide and topped
the Billboard charts for 112 consecutive
weeks. What was the pressure like to
follow that up?
MK: All of our pressure is self-imposed,
you know? You have the pressure to kind
of do better than you did on the record
before, regardless of what the charts say.
You’re trying to just go and do your best
work every album, and if it happens to
chart well, that’s kind of the X factor. You
can do what you can do. You can write
songs that you think are hit songs, but it’s
up to the people. And we got pretty lucky
on that one.
TE: And even luckier with “Dark
Horse.”
MK: It’s gone well. Yeah, “Dark Horse”
has gone well.
TE: Two years and eight singles after its
release, the album’s still going strong. Did
you guys know what you had when you
were in the studio recording with Mutt
Lange?
MK: Going into the studio with Mutt
was amazing. The guy had made records
that we all loved and were some of our
favorite records. So we knew we were in
good hands and were happy to be able to
work with the guy, to have him steering
the ship. We co-produced with him, but
he’s such a been-there- done-that-guy - he
has literally been there and done that on
everything, you know? So we’re not going
to do anything for the first time, because
he’s been doing this for many, many,
many years.
MK: Awesome. He’s a bass player. I
TE: You take it from the album to an
even bigger world tour – close to two
million fans seeing the shows. Nickelback
is known for having one of the biggest
stage spectacles on the road. How hard is
it to raise that bar for every new tour?
MK: It’s about just trying to do
something different every time. Coming
in with a different kind of show and trying
to do things that use technology that
people haven’t seen yet or that nobody’s
used yet - just trying to do the undone
occasionally. We bring different elements
to the shows. I heard yesterday that
our new PA amp racks have officially
surpassed 1 million watts of sound. That’s
pretty cool! I mean if you’re pumping
out a million of anything, that’s pretty
awesome. A million watts!
TE: That’s crazy.
MK: Yes. A lot of that’s bottom end too,
by the way! [Laughs]
TE: On this tour, you’re using a huge
Trace Elliot rig. Can you give us a
3
rundown on the
setup?
MK: Well, we
usually have the
1015H’s and the 1818’s on the bottom.
We have two AH1200 heads, with one of
them running to the 1818’s and one to the
1015H’s, and have it EQ’d just a little bit
differently for the two types of cabinets,
and then we just mix them together, and
there you have it.
TE: What are you looking for from your
Trace Elliot Amps in creating your huge
live sound on this tour?
MK: We have changed the sound. I
mean, once we get a rig to where we want
it, we kind of leave it there for the most
part. We’ve made some changes, but
we’ve had to make changes because we’ve
changed the sources a little bit. Moved
to a different kind of bass for fingerstyleplaying which kind of led us to tweak it
a little bit. But, you know, we’re asking
a lot because we go from a really edgytype pick sound to a really warm, smooth,
woofy, finger sound. We don’t make
any changes to any settings. We leave
everything where it is and it goes off. The
Trace Elliot sound is great.
TE: This leg of the tour goes through
the end of October - what’s next? More
touring? New album? Time off?
MK: You know, I would love to tell
you that what’s coming up next is some
time off. But I’m getting tired of saying
it because every record at the end of the
tour we say, “Oh, we’re going to take lots
of time off and then go make a record.”
But we don’t do that. We don’t do that.
You say you’re going to take time off
and then three weeks kind of go by and
everybody’s trigger finger gets itchy and
you have to get to work. I suspect that’s
what’s going to happen this time. It might
be a little longer, maybe into next year
before we start to work.
12-Band Amplification
12-Band means more control, more sound and more power. There are six footswitchable features; PRE SHAPE for that classic
Trace Elliot sound; VALVE to add real tube warmth and overdrive; 12-band classic Trace Elliot GRAPHIC EQUALIZER;
DUAL-BAND COMPRESSOR with separate controls for HIGH and LOW bands; sophisticated EFFECTS LOOP with
HIGH-PASS/LOW-PASS/FULL RANGE OUTPUTS, LEFT/RIGHT/MONO RETURNS, SERIES/PARALLEL switch and
LOOP level control; and an OUTPUT MUTE that mutes all outputs except TUNER out. Other features included are XLR DI
outputs, line outputs and anti-clip circuitry incorporating a valve/tube.
1210 Combo
1215 Combo
A combo amplifier with 2 x 10’’ special design Celestion speakers
and high frequency horn that uses the 12 band preamp and a 600W
power stage. This combo has the same speaker configuration as
the 1028H. and has been tuned, with an unobstructed bottom slot,
to 40Hz. The high frequency horn has a switch for Off, Lo and Hi
for control over the reproduction of the high frequencies. Although
already an extremely versatile and powerful unit on it’s own, for
more volume and ‘mini-stack’ performance we recommend using in
combination with the 1518c cabinet.
A combo amplifier with a 15’’ special design Celestion speaker and
high frequency horn that uses the 12 band preamp and a 600W
power stage. This combo has the same speaker configuration as
the 1518c and the cabinet has been tuned, with an unobstructed
bottom slot, to 42Hz, for great tight bass response. The high
frequency horn has a switch for Off, Lo and Hi for control over the
reproduction of the high audio frequencies. The speaker output
can also be connected to an extension cabinet for more volume and
bigger sound.
4
Trace Elliot, The Original Bass
Amplification Specialist.
AH 1200-12
AH 600-12
A 1200W (2 x 600W) amplifier head with the 12 Band preamp, this
amplifier is for the serious creative bassist who wants to experiment
with their sound. Along with all the features of the preamp, this
has two separate power stages and is stereo from the effects loop
through to the speakers. This means any effects applied within
the sophisticated effects loop will be reproduced in stereo from
the cabinets as well as through all DI and Line outputs. Also with
two power stages it is capable of driving large stacks of speaker
cabinets. Up to four 8 ohm cabinets or two large 4 ohm cabinets can
be driven for awesome power and headroom.
A 600W amplifier head that features the 12 Band preamp section.
This is the standard for professional bass players; plenty of power
for most applications and all the features that could be desired from
a preamp, selectable and adjustable at will. The output stage can
drive one of the large 4 ohm cabinets or any combination of two of
the 8 ohm cabinets.
5
7-Band Amplification
7-Band range offers four footswitchable features; PRE SHAPE for that classic Trace Elliot sound; 7-band classic Trace Elliot
GRAPHIC EQUALIZER; COMPRESSOR with self-adjusting, program-dependant ATTACK/RELEASE times; and OUTPUT
MUTE that mutes all outputs accept TUNER out. Other features included are a series EFFECTS LOOP, and electronically
balanced XLR DI output, selectable pre/post preamp.
715x Combo
A combo with a 15’’ special design Celestion speaker and high frequency horn using the 7 band preamp and a 600W power stage. The cabinet
is tuned, with an unobstructed bottom slot, to 42Hz, for great tight bass response, and the horn has a switch for Off, Lo and Hi for control of
the high audio frequencies. The extra speaker output can be connected to an extension cabinet for more volume and bigger sound on stage.
6
AH 600-7
A 600W amplifier head that features the 7 band graphic equalizer based preamp. Within this are four footswitchable functions: Preshape,
Graphic, Compressor and Mute. The Preshape instantly gives the signature Trace Elliot tone, the compressor is a special design that uses a
studio quality VCA with soft-knee threshold and adaptive attack and release times. The Mute function will mute all outputs except for Tuner
Out. Also included are a balanced low impedance DI output and effects loop; enough features to satisfy most players.
With the 600W output stage, this unit can drive one of the large 4 ohm cabinets or a stack of any two of the 8 ohm cabinets.
7
Enclosures
Trace Elliot cabinets are fitted with specially designed Celestion speakers and come in various configurations. All the cabinets
are tuned with central or bottom unobstructed slots for well controlled bass response and also feature internal bracing to
give strength as well as solidity in the low frequencies. The tuning of the cabinets was originally carried out using scientific
equipment and computer controlled manufacturing processes are used to ensure consistency and quality throughout the
range. All cabinets feature sockets for Neutrik Speakon type connectors as
well as ¼’’ jack connectors. To encourage use of the superior Speakon type
connector, especially at these power levels, we include a Speakon to Speakon
cable with each cabinet.
1028H
1048H
1518C
1518
1028H
A 400W compact speaker
cabinet with two special
design 10’’ Celestion
speakers and high frequency
horn with variable
attenuation. As well as the
drivers and horn providing
plenty of punch in the mid
range and sizzle in the high
frequencies respectively, this
cabinet has been tuned to
40Hz, to also give excellent
sound at bass frequencies.
1048H
1518c
The modern version of a
classic format that Trace
Elliot pioneered in the early
days. Now an 800W cabinet
with four special design 10”
Celestion speakers and a
high frequency horn with
variable attenuation. The
cabinet has been tuned with
central unobstructed slots to
40Hz for an awesome punchy
sound. Although superb
when used singularly or in
pairs, for the classic Trace
stack and more bottom end
we recommend pairing with
the 1518.
A 300W compact speaker
cabinet with a special design
15’’ Celestion speaker. The
cabinet is tuned with an
unobstructed bottom slot to
40Hz for great low frequency
response despite it’s size. At
only 21kg (46lbs) this is also
fairly light and easy to manage. Use with the 1028H for
a very compact, but powerful,
full range stack response.
8
1518
A 500W cabinet with
a special design, wide
excursion, 15” Celestion
speaker. The cabinet
has been tuned with an
unobstructed bottom slot to
38Hz which, along with the
internal bracing, achieves
superb low frequency
reproduction. For full range
sound this can be used in a
stack with either the 1028H
or 1048H.
1528
1818
1015H
1528/ 1818
These cabinets have been
designed for players who want
an extended bottom end,
however, each cabinet has
it’s own qualities. The 500W
1528 features two 15” drivers
whereas the 1818 has one
500W 18”, tuned to 32Hz and
28Hz respectively; therefore
both highly suitable for 5
string players. Sonically the
1528 has an inherent natural
‘boost’ in the 80 to 160Hz
range which really brings out
the bass in a live mix, whereas
the 1818 has a fairly gentle
curve all the way down to sub
frequencies. Both cabinets
are rated at 8Ω therefore we
recommend pairing them with
the standard 1028H for full
range sound and full output
from the amplifier.
1084H
1015H
1084H
The 1015H is intended to
be a ‘stack in a box’; i.e. one
cabinet that can handle the
full power from an amplifier
and deliver full range sound.
The two 10” speakers and
variable high frequency horn
are in a natural band pass,
sealed chamber, to give a
tight and punchy midrange.
This allows the 15” more
internal volume to be tuned
to 32Hz. Rated at 800W at
4Ω it is intended to be used
on it’s own with an AH6007 or AH600-12, or in pairs
with the AH1200-12 for a
compact powerful stereo rig.
The 1084H will deliver the
full power from an amplifier
through eight special design
10” speakers, mounted within
an infinite baffle type cabinet.
Internally the cabinet is
divided into four chambers,
split left/right, top/bottom,
each containing a pair of
10” drivers. The additional
variable horn increases the
versatility for players who
need more snap to the top
end. Nominally a 1600W 4Ω
cabinet when used in mono,
it can also be driven in stereo
with each side capable of
handling 800W at 8Ω.
9
Due to their increased height and
weight, the 1015H, 1084H, 1528
and 1818 cabinets are all fitted with
additional rear handles, rubber feet
and castors, which make transportation
extremely easy.
Suggested Speaker Enclosure Set-ups
This section is just a guide to the systems that can be assembled. Speaker enclosures can be mixed with heads or combos in
any combination as long as the minimum impedance for each amplifier section is adhered to. Do not connect more than one
amplifier section into each speaker system. If you require any further information about a particular set-up, then please contact
Trace Elliot customer service or your local dealer.
AH1200-12
2 x 1028H
2 x 1528
AH600-7
1028H
1818
Full range, full
power, stereo
professional
touring rig with
sophisticated
preamp
features.
AH600-12
1028H
1528
Variations of
standard stack
with more
emphasis on
the low end.
715x
1028H
1 x 15”
Combo & 2 x
10” Cabinet
AH600-12
1015H
Stack like
performance
from single,
easy to move
cabinet.
For full power
and increased
range.
1210
1518c
2 x 10”
Combo & 1 x
15” Cabinet
AH600-12
1084H
For more
traditional
focused,
punchy and
warm sound.
For full power
stack- like
performance.
10
1215 or 715x
1518c
1 x 15”
Combo & 1 x
15” Cabinet
AH600-7
1028H
1518c
Compact full
power, full
range gigging
stack easy to
transport.
For full power
and increased
bottom end.
AH600-12
1048H
1518
AH1200-12
2 x 1015H
Relatively
compact full
range, full
power stereo
rig with
sophisticated
preamp
features.
Full range
industry
standard stack.
Accessories
So, what do you get when you purchase a Trace Elliot besides
British design, quality and reliability?
Owners Manual
BFC-6
BFC-4
Speakon® Cable
Protective Cover
Includes all operating
instructions, safety
information and hints and
tips on how to get the best
from your Trace Elliot
amplifier or enclosure.
Allows the user to control
the PRE-SHAPE,
VALVE, GRAPHIC
EQUALIZER, DUAL
BAND COMPRESSOR,
EFFECTS LOOP and
OUTPUT MUTE. The
BFC-6 footswitch comes
with all 12 Band Trace
Elliot combos and heads.
All Trace Elliot 7 Band
combos and heads come
with the BFC-4 which
controls the amplifier
features: PRE-SHAPE
(for that classic Trace
Elliot sound), GRAPHIC
EQUALIZER,
COMPRESSOR and
OUTPUT MUTE.
Each enclosure is
packed with a Neutrik
Speakon® connector
cable for a secure, reliable
connection everytime.
All amplifiers and
enclosures come with a
hard wearing protective
cover.
11
7 BAND
SPECIFICATION
12 BAND
INPUT sensitivity
HI
77.5mV RMS (-20dBu)
LO
245mV RMS (-10dBu)
INPUT impedance
HI
1M Ω
LO
100k Ω
PRE SHAPE Frequency Response
+6dB @ 50 Hz. - 12dB @ 400Hz. +6dB @ 5kHz
Slope = 6dB/octave
GRAPHIC EQUALIZER
COMPRESSOR
+/- 15dB @ 7 frequencies
+/- 15dB @ 12 frequencies
Single band, soft knee, with
adaptive attack and release times
Dual band, soft knee, with
specifically set attack and release times per band
EFFECTS SEND(S)
Load impedance
1K Ω or greater
Nominal signal level
-10dBV, 0.3VRMS
EFFECTS RETURN(S)
Impedance
100K Ω
Nominal input level
-10dBV, 0.3VRMS
TUNER OUT level
Instrument level via buffer
Nominal -10dBV, 0.3VRMS
LINE OUT(S)
Load impedance
1K Ω or greater
Level with OUTPUT LEVEL on 5
0dBu, 0.775VRMS
DI OUTPUT(S)
Load impedance
600 Ω or greater
Nominal Output level
0dBu, 0.775VRMS
EXTERNAL CONTROL
4 function footcontroller
VALVES
6 function footcontroller
N/A
2 x ECC83/12AX7 Double Triode
HUM & NOISE
Greater than 80dB below rated power
FREQUENCY RESPONSE
+/- 3dB, 20Hz - 25kHz
POWER AMPLIFIER
Protection
Current limit protection, thermal protection, anti-clip protection, and DC protection
Minimum Load
4 Ω, for full rated output power
Power Output at 8 Ω
Approx 60% of rated power
SUPPLY VOLTAGE
Local nominal mains voltage (230/120/100) +/- 10%
ACCESSORIES
Dimensions & Weights:
IEC lead, protective cover, footcontroller, owners manual
Width
Height
Depth
Weight
mm
inches
mm
inches
mm
inches
kg
lbs
715x
615
24.2
623
24.5
335
13.2
36
79
1215
615
24.2
623
24.5
335
13.2
38
83
1210 bare combo
cabinet cut to show
construction:
1210
615
24.2
623
24.5
335
13.2
40
87
AH600-7
491
19.3
158
6.2
335
13.2
15
33
• Light weight 3/4”
plywood
AH600-12
491
19.3
158
6.2
335
13.2
17
37
• All jonits rebated
AH1200-12
491
19.3
158
6.2
435
17.1
22
48
• Internal bracing
1518c
615
24.2
508
20
435
17.1
21
46
• Slot tuning port
1028H
615
24.2
508
20
435
17.1
26
56
1518
615
24.2
682
26.9
435
17.1
27
60
• All drivers bolted to
baffel into T-nuts
1048H
615
24.2
682
26.9
435
17.1
35
77
1818
615
24.2
860
34
435
17.1
34
75
1528
615
24.2
860
34
435
17.1
35
77
1015H
615
24.2
860
34
435
17.1
42
92
1084H
615
24.2
1225
48.2
435
17.1
66
145
12
• Manufactured
using a CNC
router ensuring
consistency
Specifications
1518c
1028H
1518
1048H
1528
1818
1015H
1084H
Enclosure
Specifications:Transducer Complement
1 x 15”
2 x 10”+Horn
1 x 15”
4 x 10”+Horn
2 x 15”
1 x 18”
2 x 10”, 1 x 15”+Horn
8 x 10”+Horn
Power Handling
300WRMS
400WRMS
500WRMS
800WRMS
500WRMS
500WRMS
800WRMS
1600WRMS
Nominal Impedance
8Ω
8Ω
8Ω
8Ω
8Ω
8Ω
4Ω
4 Ω (2 x 8 Ω in stereo)
Frequency Response
30Hz-5kHz
35Hz-15kHz
30Hz-5kHz
35Hz-15kHz
32Hz-4kHz
30Hz-3KHz
35Hz-15kHz
35Hz-15KHz
Sound Pressure Level
1W, 1m
100dB
100dB
103dB
103dB
103dB
100dB
102dB
104dB
Cabinet Tuning
Frequency
40Hz
40Hz
38Hz
40Hz
32Hz
28Hz
32Hz
N/A (Infinite baffle)
Crossover Frequency
(internal passive)
N/A
5kHz
N/A
5kHz
N/A
N/A
5kHz
5kHz
Controls
N/A
Horn level
N/A
Horn level
N/A
N/A
Horn level
Horn level
Connections
2 x Speakon® and 2 x ¼” jack
Enclosure Materials &
Finish
2 x Speakon® and 2 x ¼” jack
90% poplar ply, 10% MDF, black vinyl covering, metal hardware
Accessories
3 x Speakon® and 3
x ¼” jack
70% Poplar Ply, 30% Birch Ply, black vinyl covering, additional rear handles and castors
Protective cover, Speakon® lead, owners information sheet
Individual Woofer Spec:-
10”
15”
Power rating
300W
200W
500W
200W
250W
500W
200W
500W
200W
Sensitivity
98dB
97dB
100dB
97dB
97dB
100dB
97dB
100dB
97dB
Voice coil diameter
2 ½” (64mm)
2” (51mm)
3” (76mm)
2” (51mm)
2.½” (64mm)
3” (76mm)
2” (51mm)
3” (76mm)
2” (51mm)
Magnet Weight
1.4kg / 50oz
1.2kg / 42oz
2.2kg / 77oz
1.2kg / 42oz
1.2kg / 42oz
2.2kg / 77oz
1.2kg / 42oz
2.2kg / 77oz
1.2kg / 42oz
Cone material
Kevlar® impregnated paper
Horn Spec:Power rating
N/A
25W
N/A
25W
N/A
N/A
25W
25W
Sensitivity
N/A
100dB
N/A
100dB
N/A
N/A
103dB
103dB
Dome size
N/A
1” (25mm)
N/A
1” (25mm)
N/A
N/A
1” (25mm)
1” (25mm)
Dome material
N/A
Phenolic
N/A
Phenolic
N/A
N/A
Phenolic
Phenolic
715x
1215
1210
1 x 15”+Horn
1 x 15”+Horn
2 x 10”+Horn
600WRMS
Combo Enclosure Specifications:Transducer Complement
Total Power Output
600WRMS
600WRMS
Nominal Impedance
8Ω
8Ω
8Ω
Frequency Response
35Hz-15kHz
35Hz-15kHz
35Hz-15kHz
Sound Pressure Level 1W, 1m
100dB
100dB
100dB
Cabinet Tuning Frequency
42Hz
42Hz
40Hz
Crossover Frequency (internal passive)
Controls
Enclosure Materials & Finish
5kHz
5kHz
5kHz
Horn switch
Horn switch
Horn switch
90% poplar ply, 10% MDF, black vinyl covering, metal hardware
Individual Woofer Spec:Power rating
Sensitivity
Voice coil diameter
Magnet Weight
Cone material
Horn type
300W
300W
200W
98dB
98dB
97dB
2 ½” (64mm)
2 ½” (64mm)
2” (51mm)
1.4kg / 50oz
1.2kg / 42oz
1.4kg / 50oz
Kevlar® impregnated paper
Phenolic horn loaded dome tweeter
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Endorsees
Year after year, the Trace Elliot artist roster grows as each new generation of player finds
inspiration in the “Trace” sound. Trace Elliot boasts an artist lineup that crosses all genres
and musical styles, from rock and roll to hip hop to country.
Among the ranks of converts are such world-class players as Monte Montgomery, Doug
Wimbish, Michael Brignardello, and David Hungate, to name a few. Whether it’s the classic
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rock mega-hits of Nancy Wilson and Heart, the multi-platinum glory of Mike Kroeger and
Nickelback, or the extreme intensity of Evil J and Otep, they all have one thing in common
- Trace Elliot Amplifiers.
For more info visit www.traceelliot.com
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Monte
Montgomery
The Best in
Acoustic
Amplification
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B
efore 1989, acoustic musicians must have felt somewhat left out when walking around the amplifier section of
their local music store. While small attempts had been made at producing an amplifier specifically for acoustic
players, the fireworks of the amplifier industry were reserved for the owners of electric guitars and basses. Then came
Trace Acoustic.
With the Trace Acoustic range, the British manufacturer fast revolutionised the world of acoustic instrumentation,
from guitars to banjos to mandolins, and the musical instrument industry as a whole. Boasting very high impedance
piezo pickup inputs, notch filters, phantom power, DSP effects, and a unique circuitry named Dynamic Correction
which reproduced the sparkling top end of an acoustic instrument without harsh-sounding high frequency horns, the
amplifiers were quickly recognised as a standard to match. No wonder Trace Acoustic made fans of some of the worlds’
most respected acoustic musicians.
More than twenty years later, the influence of Trace Acoustic is widely felt throughout the industry, but as in 1989, Trace
Acoustic is raising the stakes again. Acoustic musicians can now experience a new generation of Trace Acoustic models,
more evolved than their classic forebears and still endowed with the engineering genius that has produced studioquality acoustic reproduction on stage for almost two decades. Lighter than ever before, more powerful and carrying a
wealth of new cutting edge features, the new generation is here.
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Mic. Channel 2:
Instrument Channel:
Combination balanced XLR / ¼” Jack input; Gain & Notch
filter rotary controls.
Phantom power switch; provides +48V on XLR or +9V
on ring of TRS Jack socket, for powering of condenser
microphones or certain guitar preamps respectively.
Signal level LED.
Shape switch for instant EQ’d sound.
Phase switch to help with control of feedback
(footswitchable).
Built in auto-compressor, prevents clipping in preamp and
can be used as compression effect.
¼” Jack Input; Gain, Lo-Trim, Hi-Trim & Notch filter rotary
controls.
Piezo switch, to switch to ultra-high impedance input stage.
Signal level LED.
Shape switch (footswitchable) for instant EQ’d sound.
Phase switch to help with control of feedback (footswitchable).
Built in auto-compressor, prevents clipping in preamp and can
be used as compression effect.
If a stereo output guitar is used, the signals can be routed through
separate channels by using a TRS type jack to jack lead.
The Trace Acoustic Series Amplifiers
Studio-Quality Acoustic
Reproduction On Stage
TA 200
200W stereo total power output.
4 x Special design Celestion 5” neodymium
speakers connected in stereo to power
section featuring Dynamic Correction.
TA 300
TA 100
100W stereo total power output.
2 x Special design Celestion 5” neodymium
speakers connected in stereo to lightweight
power section that features Dynamic
Correction for the legendary 3 dimensional
sparkly Trace Acoustic sound.
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300W total power output.
2x Special design Celestion 5” neodymium
in stereo & 1x Celestion G12 Century
Vintage neodymium speakers connected to
lightweight power section featuring Dynamic
Correction.
Digital Effects section: Graphic Equalizer:
Master section:
Parameter and Setting rotary encoders.
Allows for separate levels of Reverb to
be applied to each channel. Instrument
channels can also have either Chorus,
Flange, Phaser, Tremolo, and various
Delay’s including stereo Ping Pong.
Tap tempo (from either front panel or
footswitch) allows the delay times to be
set to the tempo of the music by the user.
Effects (where applicable) are stereo.
Master volume and Mute switch
(footswitchable), mutes all outputs
except Tuner Out.
TA100 / 200 / 300: 6 bands of EQ using
sliders, centre frequencies at 100Hz,
200Hz, 500Hz, 1kHz, 3.5kHz, 10kHz.
Features Feedback Locating System
on each band of EQ that uses LED’s
to show where feedback is occurring,
therefore enabling the user to quickly
adjust to control feedback.
Accessories
TA 100 Includes heavy duty gig bag (33400180), 6 function footswitch (AFC-6) with stage length cable.
TA 200 Includes heavy duty gig bag (33400190), 6 function footswitch (AFC-6) with stage length cable.
TA 300 Includes amp cover (33400200), 6 function footswitch (AFC-6) with stage length cable.
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Peavey Electronics Corporation • 5022 Hartley Peavey Drive • Meridian, MS 39305
Phone: (601) 483-5365 • Fax: (601) 486-1278 • www.peavey.com • 80305744 • Printed in U.S.A.
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