Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
<strong>Trace</strong> History<br />
In 1979, a music store in Essex, United Kingdom,<br />
was building and hiring out PA systems to local<br />
musicians. It soon became apparent that some<br />
of this equipment was not being used simply as<br />
PA but instead was being used by bass players,<br />
who for so long had to put up with underpowered<br />
amplification that was often merely a<br />
guitar amplifier with a modified tone circuit.<br />
The store owner and staff soon realised the<br />
potential of developing <strong>product</strong>s specifically for<br />
bass players that were more substantial in power<br />
and offered greater tone shaping facilities than<br />
what was previously available. Consequently,<br />
a new brand emerged: <strong>Trace</strong> <strong>Elliot</strong>, the original<br />
bass amplification specialist.<br />
This new line of <strong>product</strong>s included features such<br />
as: a graphic equalizer based preamp with LED<br />
level indication, XLR DI outputs, the now classic<br />
mid Pre-Shape circuit that gives the instantly<br />
recognisable <strong>Trace</strong> <strong>Elliot</strong> tone, PA type output<br />
stages driving large bass reflex cabinets and also<br />
the worlds first bass dedicated 4x 10” cabinet,<br />
now an industry standard for all bass amp<br />
lines. Visually striking, the units also featured a<br />
glowing UV lamp to light up the front panel in<br />
the now iconic green. The many influences from<br />
sound reinforcement and studio equipment has<br />
remained the primary factor in the <strong>Trace</strong> <strong>Elliot</strong><br />
design philosophy.<br />
Due to the high quality and robust build of<br />
this new brand, it quickly became known as<br />
the serious amplification line that professional<br />
bass players needed, and it wasn’t long before<br />
many high profile players were using them. As<br />
these <strong>product</strong>s became more and more visible in<br />
concerts and on TV, the demand grew throughout<br />
the ‘80’s.<br />
A decade later, with the bass <strong>product</strong>s firmly<br />
established, another niche was seized upon with<br />
the introduction of the <strong>Trace</strong> Acoustic range.<br />
With many innovative features (since then much<br />
copied), these were the first truly successful<br />
<strong>product</strong>s of their type which satisfactorily<br />
addressed many of the problems of amplifying<br />
acoustic instruments. Changing the marketplace<br />
again, this kind of <strong>product</strong> is now standard in<br />
the range for most amplification companies.<br />
The current <strong>product</strong>s shown in this brochure<br />
continue the <strong>Trace</strong> <strong>Elliot</strong> and <strong>Trace</strong> Acoustic<br />
legacy and a clear bloodline in features, styling<br />
and sound is apparent, albeit with state of the<br />
art components, technology and manufacturing<br />
processes.<br />
Mike Kroeger and <strong>Trace</strong> —<br />
All The Right Reasons<br />
After selling over 27 million<br />
albums worldwide, climbing<br />
numerous Billboard charts and<br />
spending an astounding 112<br />
consecutive weeks in the Top 30 of<br />
Billboard’s Top 200, it might seem<br />
ironic that Nickelback’s current album<br />
is titled “Dark Horse.” But bassist<br />
and founding member Mike Kroeger<br />
doesn’t take their success for granted.<br />
“Any artist that is even surviving right<br />
now is a dark horse because things<br />
change pretty fast,” says Kroeger.<br />
2<br />
“You’re a superstar one day and wake<br />
up the next day and you’re anonymous.<br />
To be successful in any way is beating<br />
the odds right now, I think.”<br />
<strong>Trace</strong> <strong>Elliot</strong> sat down with Mike<br />
Kroeger backstage in Nashville,<br />
Tenn., on the eve of the final leg of<br />
their “Dark Horse” tour to discuss<br />
Nickelback’s success, their amazing<br />
live shows, and what he loves about his<br />
<strong>Trace</strong> <strong>Elliot</strong> rig.<br />
<strong>Trace</strong> <strong>Elliot</strong>: Six albums and 14 years as a
and. How has Nickelback changed over<br />
time?<br />
Mike Kroeger: I guess we’ve slowed<br />
down a little bit. You know, earlier on we<br />
did our records a lot closer together. If<br />
we kept at that pace we’d probably have<br />
a lot more! [Laughs] But we’ve done a lot<br />
more touring as a result of things going<br />
blessedly well at the album level. Getting<br />
some radio and a lot of touring, which is a<br />
good sign!<br />
TE: 2005’s “All The Right Reasons” sold<br />
two million copies worldwide and topped<br />
the Billboard charts for 112 consecutive<br />
weeks. What was the pressure like to<br />
follow that up?<br />
MK: All of our pressure is self-imposed,<br />
you know? You have the pressure to kind<br />
of do better than you did on the record<br />
before, regardless of what the charts say.<br />
You’re trying to just go and do your best<br />
work every album, and if it happens to<br />
chart well, that’s kind of the X factor. You<br />
can do what you can do. You can write<br />
songs that you think are hit songs, but it’s<br />
up to the people. And we got pretty lucky<br />
on that one.<br />
TE: And even luckier with “Dark<br />
Horse.”<br />
MK: It’s gone well. Yeah, “Dark Horse”<br />
has gone well.<br />
TE: Two years and eight singles after its<br />
release, the album’s still going strong. Did<br />
you guys know what you had when you<br />
were in the studio recording with Mutt<br />
Lange?<br />
MK: Going into the studio with Mutt<br />
was amazing. The guy had made records<br />
that we all loved and were some of our<br />
favorite records. So we knew we were in<br />
good hands and were happy to be able to<br />
work with the guy, to have him steering<br />
the ship. We co-produced with him, but<br />
he’s such a been-there- done-that-guy - he<br />
has literally been there and done that on<br />
everything, you know? So we’re not going<br />
to do anything for the first time, because<br />
he’s been doing this for many, many,<br />
many years.<br />
TE: How was it to work with him?<br />
MK: Awesome. He’s a bass player. I<br />
learned a great deal. I learned a great<br />
deal about how to play bass from Mutt<br />
- melodic playing. He was in a band in<br />
the sixties - I think it was the sixties - he<br />
was a bass player and singer. So the guy’s<br />
been playing bass for a long time, and he’s<br />
played on such a wide variety of things,<br />
as well as produced and directed the play<br />
of bass players on such a wide variety of<br />
music that he brings all these ideas to<br />
the table. The first time he would tell me<br />
to try something or he would show me<br />
something on the bass I’d just be like, “Oh<br />
man, that’s like – I don’t know – that’s a<br />
lot for me, you know?” I’m really simple,<br />
a minimalist kind of person, especially as<br />
it applies to playing the bass. He pushed<br />
me out of that comfort zone of sticking to<br />
what the drums are doing and moved me<br />
to going to more melodic things, getting a<br />
little more in touch with what the vocals<br />
are doing to contribute to that melodic<br />
structure.<br />
TE: You take it from the album to an<br />
even bigger world tour – close to two<br />
million fans seeing the shows. Nickelback<br />
is known for having one of the biggest<br />
stage spectacles on the road. How hard is<br />
it to raise that bar for every new tour?<br />
MK: It’s about just trying to do<br />
something different every time. Coming<br />
in with a different kind of show and trying<br />
to do things that use technology that<br />
people haven’t seen yet or that nobody’s<br />
used yet - just trying to do the undone<br />
occasionally. We bring different elements<br />
to the shows. I heard yesterday that<br />
our new PA amp racks have officially<br />
surpassed 1 million watts of sound. That’s<br />
pretty cool! I mean if you’re pumping<br />
out a million of anything, that’s pretty<br />
awesome. A million watts!<br />
TE: That’s crazy.<br />
MK: Yes. A lot of that’s bottom end too,<br />
by the way! [Laughs]<br />
TE: On this tour, you’re using a huge<br />
<strong>Trace</strong> <strong>Elliot</strong> rig. Can you give us a<br />
3<br />
rundown on the<br />
setup?<br />
MK: Well, we<br />
usually have the<br />
1015H’s and the 1818’s on the bottom.<br />
We have two AH1200 heads, with one of<br />
them running to the 1818’s and one to the<br />
1015H’s, and have it EQ’d just a little bit<br />
differently for the two types of cabinets,<br />
and then we just mix them together, and<br />
there you have it.<br />
TE: What are you looking for from your<br />
<strong>Trace</strong> <strong>Elliot</strong> Amps in creating your huge<br />
live sound on this tour?<br />
MK: We have changed the sound. I<br />
mean, once we get a rig to where we want<br />
it, we kind of leave it there for the most<br />
part. We’ve made some changes, but<br />
we’ve had to make changes because we’ve<br />
changed the sources a little bit. Moved<br />
to a different kind of bass for fingerstyleplaying<br />
which kind of led us to tweak it<br />
a little bit. But, you know, we’re asking<br />
a lot because we go from a really edgytype<br />
pick sound to a really warm, smooth,<br />
woofy, finger sound. We don’t make<br />
any changes to any settings. We leave<br />
everything where it is and it goes off. The<br />
<strong>Trace</strong> <strong>Elliot</strong> sound is great.<br />
TE: This leg of the tour goes through<br />
the end of October - what’s next? More<br />
touring? New album? Time off?<br />
MK: You know, I would love to tell<br />
you that what’s coming up next is some<br />
time off. But I’m getting tired of saying<br />
it because every record at the end of the<br />
tour we say, “Oh, we’re going to take lots<br />
of time off and then go make a record.”<br />
But we don’t do that. We don’t do that.<br />
You say you’re going to take time off<br />
and then three weeks kind of go by and<br />
everybody’s trigger finger gets itchy and<br />
you have to get to work. I suspect that’s<br />
what’s going to happen this time. It might<br />
be a little longer, maybe into next year<br />
before we start to work.
12-Band Amplification<br />
12-Band means more control, more sound and more power. There are six footswitchable features; PRE SHAPE for that classic<br />
<strong>Trace</strong> <strong>Elliot</strong> sound; VALVE to add real tube warmth and overdrive; 12-band classic <strong>Trace</strong> <strong>Elliot</strong> GRAPHIC EQUALIZER;<br />
DUAL-BAND COMPRESSOR with separate controls for HIGH and LOW bands; sophisticated EFFECTS LOOP with<br />
HIGH-PASS/LOW-PASS/FULL RANGE OUTPUTS, LEFT/RIGHT/MONO RETURNS, SERIES/PARALLEL switch and<br />
LOOP level control; and an OUTPUT MUTE that mutes all outputs except TUNER out. Other features included are XLR DI<br />
outputs, line outputs and anti-clip circuitry incorporating a valve/tube.<br />
1210 Combo<br />
A combo amplifier with 2 x 10’’ special design Celestion speakers<br />
and high frequency horn that uses the 12 band preamp and a 600W<br />
power stage. This combo has the same speaker configuration as<br />
the 1028H. and has been tuned, with an unobstructed bottom slot,<br />
to 40Hz. The high frequency horn has a switch for Off, Lo and Hi<br />
for control over the re<strong>product</strong>ion of the high frequencies. Although<br />
already an extremely versatile and powerful unit on it’s own, for<br />
more volume and ‘mini-stack’ performance we recommend using in<br />
combination with the 1518c cabinet.<br />
4<br />
1215 Combo<br />
A combo amplifier with a 15’’ special design Celestion speaker and<br />
high frequency horn that uses the 12 band preamp and a 600W<br />
power stage. This combo has the same speaker configuration as<br />
the 1518c and the cabinet has been tuned, with an unobstructed<br />
bottom slot, to 42Hz, for great tight bass response. The high<br />
frequency horn has a switch for Off, Lo and Hi for control over the<br />
re<strong>product</strong>ion of the high audio frequencies. The speaker output<br />
can also be connected to an extension cabinet for more volume and<br />
bigger sound.
<strong>Trace</strong> <strong>Elliot</strong>, The Original Bass<br />
Amplification Specialist.<br />
AH 1200-12<br />
A 1200W (2 x 600W) amplifier head with the 12 Band preamp, this<br />
amplifier is for the serious creative bassist who wants to experiment<br />
with their sound. Along with all the features of the preamp, this<br />
has two separate power stages and is stereo from the effects loop<br />
through to the speakers. This means any effects applied within<br />
the sophisticated effects loop will be reproduced in stereo from<br />
the cabinets as well as through all DI and Line outputs. Also with<br />
two power stages it is capable of driving large stacks of speaker<br />
cabinets. Up to four 8 ohm cabinets or two large 4 ohm cabinets can<br />
be driven for awesome power and headroom.<br />
5<br />
AH 600-12<br />
A 600W amplifier head that features the 12 Band preamp section.<br />
This is the standard for professional bass players; plenty of power<br />
for most applications and all the features that could be desired from<br />
a preamp, selectable and adjustable at will. The output stage can<br />
drive one of the large 4 ohm cabinets or any combination of two of<br />
the 8 ohm cabinets.
7-Band Amplification<br />
7-Band range offers four footswitchable features; PRE SHAPE for that classic <strong>Trace</strong> <strong>Elliot</strong> sound; 7-band classic <strong>Trace</strong> <strong>Elliot</strong><br />
GRAPHIC EQUALIZER; COMPRESSOR with self-adjusting, program-dependant ATTACK/RELEASE times; and OUTPUT<br />
MUTE that mutes all outputs accept TUNER out. Other features included are a series EFFECTS LOOP, and electronically<br />
balanced XLR DI output, selectable pre/post preamp.<br />
715x Combo<br />
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<br />
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<br />
the high audio frequencies. The extra speaker output can be connected to an extension cabinet for more volume and bigger sound on stage.<br />
6
AH 600-7<br />
A 600W amplifier head that features the 7 band graphic equalizer based preamp. Within this are four footswitchable functions: Preshape,<br />
Graphic, Compressor and Mute. The Preshape instantly gives the signature <strong>Trace</strong> <strong>Elliot</strong> tone, the compressor is a special design that uses a<br />
studio quality VCA with soft-knee threshold and adaptive attack and release times. The Mute function will mute all outputs except for Tuner<br />
Out. Also included are a balanced low impedance DI output and effects loop; enough features to satisfy most players.<br />
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.<br />
7
Enclosures<br />
<strong>Trace</strong> <strong>Elliot</strong> cabinets are fitted with specially designed Celestion speakers and come in various configurations. All the cabinets<br />
are tuned with central or bottom unobstructed slots for well controlled bass response and also feature internal bracing to<br />
give strength as well as solidity in the low frequencies. The tuning of the cabinets was originally carried out using scientific<br />
equipment and computer controlled manufacturing processes are used to ensure consistency and quality throughout the<br />
range. All cabinets feature sockets for Neutrik Speakon type connectors as<br />
well as ¼’’ jack connectors. To encourage use of the superior Speakon type<br />
connector, especially at these power levels, we include a Speakon to Speakon<br />
cable with each cabinet.<br />
1028H 1048H<br />
1518C<br />
1028H<br />
A 400W compact speaker<br />
cabinet with two special<br />
design 10’’ Celestion<br />
speakers and high frequency<br />
horn with variable<br />
attenuation. As well as the<br />
drivers and horn providing<br />
plenty of punch in the mid<br />
range and sizzle in the high<br />
frequencies respectively, this<br />
cabinet has been tuned to<br />
40Hz, to also give excellent<br />
sound at bass frequencies.<br />
1518c<br />
A 300W compact speaker<br />
cabinet with a special design<br />
15’’ Celestion speaker. The<br />
cabinet is tuned with an<br />
unobstructed bottom slot to<br />
40Hz for great low frequency<br />
response despite it’s size. At<br />
only 21kg (46lbs) this is also<br />
fairly light and easy to manage.<br />
Use with the 1028H for<br />
a very compact, but powerful,<br />
full range stack response.<br />
8<br />
1518<br />
1048H<br />
The modern version of a<br />
classic format that <strong>Trace</strong><br />
<strong>Elliot</strong> pioneered in the early<br />
days. Now an 800W cabinet<br />
with four special design 10”<br />
Celestion speakers and a<br />
high frequency horn with<br />
variable attenuation. The<br />
cabinet has been tuned with<br />
central unobstructed slots to<br />
40Hz for an awesome punchy<br />
sound. Although superb<br />
when used singularly or in<br />
pairs, for the classic <strong>Trace</strong><br />
stack and more bottom end<br />
we recommend pairing with<br />
the 1518.<br />
1518<br />
A 500W cabinet with<br />
a special design, wide<br />
excursion, 15” Celestion<br />
speaker. The cabinet<br />
has been tuned with an<br />
unobstructed bottom slot to<br />
38Hz which, along with the<br />
internal bracing, achieves<br />
superb low frequency<br />
re<strong>product</strong>ion. For full range<br />
sound this can be used in a<br />
stack with either the 1028H<br />
or 1048H.
1015H<br />
1528<br />
1818<br />
1528/ 1818<br />
These cabinets have been<br />
designed for players who want<br />
an extended bottom end,<br />
however, each cabinet has<br />
it’s own qualities. The 500W<br />
1528 features two 15” drivers<br />
whereas the 1818 has one<br />
500W 18”, tuned to 32Hz and<br />
28Hz respectively; therefore<br />
both highly suitable for 5<br />
string players. Sonically the<br />
1528 has an inherent natural<br />
‘boost’ in the 80 to 160Hz<br />
range which really brings out<br />
the bass in a live mix, whereas<br />
the 1818 has a fairly gentle<br />
curve all the way down to sub<br />
frequencies. Both cabinets<br />
are rated at 8Ω therefore we<br />
recommend pairing them with<br />
the standard 1028H for full<br />
range sound and full output<br />
from the amplifier.<br />
1015H<br />
The 1015H is intended to<br />
be a ‘stack in a box’; i.e. one<br />
cabinet that can handle the<br />
full power from an amplifier<br />
and deliver full range sound.<br />
The two 10” speakers and<br />
variable high frequency horn<br />
are in a natural band pass,<br />
sealed chamber, to give a<br />
tight and punchy midrange.<br />
This allows the 15” more<br />
internal volume to be tuned<br />
to 32Hz. Rated at 800W at<br />
4Ω it is intended to be used<br />
on it’s own with an AH600-<br />
7 or AH600-12, or in pairs<br />
with the AH1200-12 for a<br />
compact powerful stereo rig.<br />
9<br />
1084H<br />
1084H<br />
The 1084H will deliver the<br />
full power from an amplifier<br />
through eight special design<br />
10” speakers, mounted within<br />
an infinite baffle type cabinet.<br />
Internally the cabinet is<br />
divided into four chambers,<br />
split left/right, top/bottom,<br />
each containing a pair of<br />
10” drivers. The additional<br />
variable horn increases the<br />
versatility for players who<br />
need more snap to the top<br />
end. Nominally a 1600W 4Ω<br />
cabinet when used in mono,<br />
it can also be driven in stereo<br />
with each side capable of<br />
handling 800W at 8Ω.<br />
Due to their increased height and<br />
weight, the 1015H, 1084H, 1528<br />
and 1818 cabinets are all fitted with<br />
additional rear handles, rubber feet<br />
and castors, which make transportation<br />
extremely easy.
Suggested Speaker Enclosure Set-ups<br />
This section is just a guide to the systems that can be assembled. Speaker enclosures can be mixed with heads or combos in<br />
any combination as long as the minimum impedance for each amplifier section is adhered to. Do not connect more than one<br />
amplifier section into each speaker system. If you require any further information about a particular set-up, then please contact<br />
<strong>Trace</strong> <strong>Elliot</strong> customer service or your local dealer.<br />
AH1200-12<br />
2 x 1028H<br />
2 x 1528<br />
Full range, full<br />
power, stereo<br />
professional<br />
touring rig with<br />
sophisticated<br />
preamp<br />
features.<br />
715x<br />
1028H<br />
1 x 15”<br />
Combo & 2 x<br />
10” Cabinet<br />
For full power<br />
and increased<br />
range.<br />
1210<br />
1518c<br />
2 x 10”<br />
Combo & 1 x<br />
15” Cabinet<br />
For full power<br />
stack- like<br />
performance.<br />
10<br />
AH600-7<br />
1028H<br />
1818<br />
AH600-12<br />
1028H<br />
1528<br />
Variations of<br />
standard stack<br />
with more<br />
emphasis on<br />
the low end.<br />
AH600-12<br />
1015H<br />
Stack like<br />
performance<br />
from single,<br />
easy to move<br />
cabinet.<br />
AH600-12<br />
1084H<br />
For more<br />
traditional<br />
focused,<br />
punchy and<br />
warm sound.
1215 or 715x<br />
1518c<br />
1 x 15”<br />
Combo & 1 x<br />
15” Cabinet<br />
For full power<br />
and increased<br />
bottom end.<br />
AH600-12<br />
1048H<br />
1518<br />
Full range<br />
industry<br />
standard stack.<br />
Accessories So, what do you get when you purchase a <strong>Trace</strong> <strong>Elliot</strong> besides<br />
British design, quality and reliability?<br />
Owners Manual<br />
Includes all operating<br />
instructions, safety<br />
information and hints and<br />
tips on how to get the best<br />
from your <strong>Trace</strong> <strong>Elliot</strong><br />
amplifier or enclosure.<br />
BFC-6<br />
Allows the user to control<br />
the PRE-SHAPE,<br />
VALVE, GRAPHIC<br />
EQUALIZER, DUAL<br />
BAND COMPRESSOR,<br />
EFFECTS LOOP and<br />
OUTPUT MUTE. The<br />
BFC-6 footswitch comes<br />
with all 12 Band <strong>Trace</strong><br />
<strong>Elliot</strong> combos and heads.<br />
BFC-4<br />
All <strong>Trace</strong> <strong>Elliot</strong> 7 Band<br />
combos and heads come<br />
with the BFC-4 which<br />
controls the amplifier<br />
features: PRE-SHAPE<br />
(for that classic <strong>Trace</strong><br />
<strong>Elliot</strong> sound), GRAPHIC<br />
EQUALIZER,<br />
COMPRESSOR and<br />
OUTPUT MUTE.<br />
11<br />
AH600-7<br />
1028H<br />
1518c<br />
Compact full<br />
power, full<br />
range gigging<br />
stack easy to<br />
transport.<br />
AH1200-12<br />
2 x 1015H<br />
Relatively<br />
compact full<br />
range, full<br />
power stereo<br />
rig with<br />
sophisticated<br />
preamp<br />
features.<br />
Speakon ® Cable<br />
Each enclosure is<br />
packed with a Neutrik<br />
Speakon ® connector<br />
cable for a secure, reliable<br />
connection everytime.<br />
Protective Cover<br />
All amplifiers and<br />
enclosures come with a<br />
hard wearing protective<br />
cover.
SPECIFICATION<br />
INPUT sensitivity<br />
7 BAND 12 BAND<br />
HI 77.5mV RMS (-20dBu)<br />
LO<br />
INPUT impedance<br />
245mV RMS (-10dBu)<br />
HI 1M Ω<br />
LO 100k Ω<br />
PRE SHAPE Frequency Response +6dB @ 50 Hz. - 12dB @ 400Hz. +6dB @ 5kHz<br />
Slope = 6dB/octave<br />
GRAPHIC EQUALIZER +/- 15dB @ 7 frequencies +/- 15dB @ 12 frequencies<br />
COMPRESSOR Single band, soft knee, with<br />
Dual band, soft knee, with<br />
EFFECTS SEND(S)<br />
adaptive attack and release times<br />
specifically set attack and release times per band<br />
Load impedance 1K Ω or greater<br />
Nominal signal level<br />
EFFECTS RETURN(S)<br />
-10dBV, 0.3VRMS<br />
Impedance 100K Ω<br />
Nominal input level -10dBV, 0.3VRMS<br />
TUNER OUT level<br />
LINE OUT(S)<br />
Instrument level via buffer Nominal -10dBV, 0.3VRMS<br />
Load impedance 1K Ω or greater<br />
Level with OUTPUT LEVEL on 5<br />
DI OUTPUT(S)<br />
0dBu, 0.775VRMS<br />
Load impedance 600 Ω or greater<br />
Nominal Output level 0dBu, 0.775VRMS<br />
EXTERNAL CONTROL 4 function footcontroller 6 function footcontroller<br />
VALVES N/A 2 x ECC83/12AX7 Double Triode<br />
HUM & NOISE Greater than 80dB below rated power<br />
FREQUENCY RESPONSE<br />
POWER AMPLIFIER<br />
+/- 3dB, 20Hz - 25kHz<br />
Protection Current limit protection, thermal protection, anti-clip protection, and DC protection<br />
Minimum Load 4 Ω, for full rated output power<br />
Power Output at 8 Ω Approx 60% of rated power<br />
SUPPLY VOLTAGE Local nominal mains voltage (230/120/100) +/- 10%<br />
ACCESSORIES IEC lead, protective cover, footcontroller, owners manual<br />
Dimensions & Weights: Width Height Depth Weight<br />
mm inches mm inches mm inches kg lbs<br />
715x 615 24.2 623 24.5 335 13.2 36 79<br />
1215 615 24.2 623 24.5 335 13.2 38 83<br />
1210 615 24.2 623 24.5 335 13.2 40 87<br />
AH600-7 491 19.3 158 6.2 335 13.2 15 33<br />
AH600-12 491 19.3 158 6.2 335 13.2 17 37<br />
AH1200-12 491 19.3 158 6.2 435 17.1 22 48<br />
1518c 615 24.2 508 20 435 17.1 21 46<br />
1028H 615 24.2 508 20 435 17.1 26 56<br />
1518 615 24.2 682 26.9 435 17.1 27 60<br />
1048H 615 24.2 682 26.9 435 17.1 35 77<br />
1818 615 24.2 860 34 435 17.1 34 75<br />
1528 615 24.2 860 34 435 17.1 35 77<br />
1015H 615 24.2 860 34 435 17.1 42 92<br />
1084H 615 24.2 1225 48.2 435 17.1 66 145<br />
12<br />
1210 bare combo<br />
cabinet cut to show<br />
construction:<br />
• Light weight 3/4”<br />
plywood<br />
• All jonits rebated<br />
• Internal bracing<br />
• Slot tuning port<br />
• All drivers bolted to<br />
baffel into T-nuts<br />
• Manufactured<br />
using a CNC<br />
router ensuring<br />
consistency
Specifications<br />
Enclosure<br />
Specifications:-<br />
1518c 1028H 1518 1048H 1528 1818 1015H 1084H<br />
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<br />
Power Handling 300WRMS 400WRMS 500WRMS 800WRMS 500WRMS 500WRMS 800WRMS 1600WRMS<br />
Nominal Impedance 8 Ω 8 Ω 8 Ω 8 Ω 8 Ω 8 Ω 4 Ω 4 Ω (2 x 8 Ω in stereo)<br />
Frequency Response 30Hz-5kHz 35Hz-15kHz 30Hz-5kHz 35Hz-15kHz 32Hz-4kHz 30Hz-3KHz 35Hz-15kHz 35Hz-15KHz<br />
Sound Pressure Level<br />
1W, 1m<br />
Cabinet Tuning<br />
Frequency<br />
Crossover Frequency<br />
(internal passive)<br />
100dB 100dB 103dB 103dB 103dB 100dB 102dB 104dB<br />
40Hz 40Hz 38Hz 40Hz 32Hz 28Hz 32Hz N/A (Infinite baffle)<br />
N/A 5kHz N/A 5kHz N/A N/A 5kHz 5kHz<br />
Controls N/A Horn level N/A Horn level N/A N/A Horn level Horn level<br />
Connections 2 x Speakon® and 2 x ¼” jack 2 x Speakon® and 2 x ¼” jack 3 x Speakon® and 3<br />
x ¼” jack<br />
Enclosure Materials &<br />
Finish<br />
90% poplar ply, 10% MDF, black vinyl covering, metal hardware 70% Poplar Ply, 30% Birch Ply, black vinyl covering, additional rear handles and castors<br />
Accessories Protective cover, Speakon® lead, owners information sheet<br />
Individual Woofer Spec:- 10” 15”<br />
Power rating 300W 200W 500W 200W 250W 500W 200W 500W 200W<br />
Sensitivity 98dB 97dB 100dB 97dB 97dB 100dB 97dB 100dB 97dB<br />
Voice coil diameter 2 ½” (64mm) 2” (51mm) 3” (76mm) 2” (51mm) 2.½” (64mm) 3” (76mm) 2” (51mm) 3” (76mm) 2” (51mm)<br />
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<br />
Cone material Kevlar® impregnated paper<br />
Horn Spec:-<br />
Power rating N/A 25W N/A 25W N/A N/A 25W 25W<br />
Sensitivity N/A 100dB N/A 100dB N/A N/A 103dB 103dB<br />
Dome size N/A 1” (25mm) N/A 1” (25mm) N/A N/A 1” (25mm) 1” (25mm)<br />
Dome material N/A Phenolic N/A Phenolic N/A N/A Phenolic Phenolic<br />
715x 1215 1210<br />
Combo Enclosure Specifications:-<br />
Transducer Complement 1 x 15”+Horn 1 x 15”+Horn 2 x 10”+Horn<br />
Total Power Output 600WRMS 600WRMS 600WRMS<br />
Nominal Impedance 8 Ω 8 Ω 8 Ω<br />
Frequency Response 35Hz-15kHz 35Hz-15kHz 35Hz-15kHz<br />
Sound Pressure Level 1W, 1m 100dB 100dB 100dB<br />
Cabinet Tuning Frequency 42Hz 42Hz 40Hz<br />
Crossover Frequency (internal passive) 5kHz 5kHz 5kHz<br />
Controls Horn switch Horn switch Horn switch<br />
Enclosure Materials & Finish<br />
Individual Woofer Spec:-<br />
90% poplar ply, 10% MDF, black vinyl covering, metal hardware<br />
Power rating 300W 300W 200W<br />
Sensitivity 98dB 98dB 97dB<br />
Voice coil diameter 2 ½” (64mm) 2 ½” (64mm) 2” (51mm)<br />
Magnet Weight 1.4kg / 50oz 1.4kg / 50oz 1.2kg / 42oz<br />
Cone material Kevlar ® impregnated paper<br />
Horn type Phenolic horn loaded dome tweeter<br />
13
Endorsees<br />
Year after year, the <strong>Trace</strong> <strong>Elliot</strong> artist roster grows as each new generation of player finds<br />
inspiration in the “<strong>Trace</strong>” sound. <strong>Trace</strong> <strong>Elliot</strong> boasts an artist lineup that crosses all genres<br />
and musical styles, from rock and roll to hip hop to country.<br />
Among the ranks of converts are such world-class players as Monte Montgomery, Doug<br />
Wimbish, Michael Brignardello, and David Hungate, to name a few. Whether it’s the classic<br />
14
ock mega-hits of Nancy Wilson and Heart, the multi-platinum glory of Mike Kroeger and<br />
Nickelback, or the extreme intensity of Evil J and Otep, they all have one thing in common<br />
- <strong>Trace</strong> <strong>Elliot</strong> Amplifiers.<br />
For more info visit www.traceelliot.com<br />
15
The Best in<br />
Acoustic<br />
Amplification<br />
16<br />
Monte<br />
Montgomery
Before 1989, acoustic musicians must have felt somewhat left out when walking around the amplifier section of<br />
their local music store. While small attempts had been made at producing an amplifier specifically for acoustic<br />
players, the fireworks of the amplifier industry were reserved for the owners of electric guitars and basses. Then came<br />
<strong>Trace</strong> Acoustic.<br />
With the <strong>Trace</strong> Acoustic range, the British manufacturer fast revolutionised the world of acoustic instrumentation,<br />
from guitars to banjos to mandolins, and the musical instrument industry as a whole. Boasting very high impedance<br />
piezo pickup inputs, notch filters, phantom power, DSP effects, and a unique circuitry named Dynamic Correction<br />
which reproduced the sparkling top end of an acoustic instrument without harsh-sounding high frequency horns, the<br />
amplifiers were quickly recognised as a standard to match. No wonder <strong>Trace</strong> Acoustic made fans of some of the worlds’<br />
most respected acoustic musicians.<br />
More than twenty years later, the influence of <strong>Trace</strong> Acoustic is widely felt throughout the industry, but as in 1989, <strong>Trace</strong><br />
Acoustic is raising the stakes again. Acoustic musicians can now experience a new generation of <strong>Trace</strong> Acoustic models,<br />
more evolved than their classic forebears and still endowed with the engineering genius that has produced studioquality<br />
acoustic re<strong>product</strong>ion on stage for almost two decades. Lighter than ever before, more powerful and carrying a<br />
wealth of new cutting edge features, the new generation is here.<br />
17
Instrument Channel:<br />
¼” Jack Input; Gain, Lo-Trim, Hi-Trim & Notch filter rotary<br />
controls.<br />
Piezo switch, to switch to ultra-high impedance input stage.<br />
Signal level LED.<br />
Shape switch (footswitchable) for instant EQ’d sound.<br />
Phase switch to help with control of feedback (footswitchable).<br />
Built in auto-compressor, prevents clipping in preamp and can<br />
be used as compression effect.<br />
If a stereo output guitar is used, the signals can be routed through<br />
separate channels by using a TRS type jack to jack lead.<br />
The <strong>Trace</strong> Acoustic Series Amplifiers<br />
Studio-Quality Acoustic<br />
Re<strong>product</strong>ion On Stage<br />
TA 200<br />
200W stereo total power output.<br />
4 x Special design Celestion 5” neodymium<br />
speakers connected in stereo to power<br />
section featuring Dynamic Correction.<br />
TA 100<br />
100W stereo total power output.<br />
2 x Special design Celestion 5” neodymium<br />
speakers connected in stereo to lightweight<br />
power section that features Dynamic<br />
Correction for the legendary 3 dimensional<br />
sparkly <strong>Trace</strong> Acoustic sound.<br />
18<br />
Mic. Channel 2:<br />
Combination balanced XLR / ¼” Jack input; Gain & Notch<br />
filter rotary controls.<br />
Phantom power switch; provides +48V on XLR or +9V<br />
on ring of TRS Jack socket, for powering of condenser<br />
microphones or certain guitar preamps respectively.<br />
Signal level LED.<br />
Shape switch for instant EQ’d sound.<br />
Phase switch to help with control of feedback<br />
(footswitchable).<br />
Built in auto-compressor, prevents clipping in preamp and<br />
can be used as compression effect.<br />
TA 300<br />
300W total power output.<br />
2x Special design Celestion 5” neodymium<br />
in stereo & 1x Celestion G12 Century<br />
Vintage neodymium speakers connected to<br />
lightweight power section featuring Dynamic<br />
Correction.
Digital Effects section:<br />
Parameter and Setting rotary encoders.<br />
Allows for separate levels of Reverb to<br />
be applied to each channel. Instrument<br />
channels can also have either Chorus,<br />
Flange, Phaser, Tremolo, and various<br />
Delay’s including stereo Ping Pong.<br />
Tap tempo (from either front panel or<br />
footswitch) allows the delay times to be<br />
set to the tempo of the music by the user.<br />
Effects (where applicable) are stereo.<br />
Graphic Equalizer:<br />
TA100 / 200 / 300: 6 bands of EQ using<br />
sliders, centre frequencies at 100Hz,<br />
200Hz, 500Hz, 1kHz, 3.5kHz, 10kHz.<br />
Features Feedback Locating System<br />
on each band of EQ that uses LED’s<br />
to show where feedback is occurring,<br />
therefore enabling the user to quickly<br />
adjust to control feedback.<br />
Master section:<br />
Master volume and Mute switch<br />
(footswitchable), mutes all outputs<br />
except Tuner Out.<br />
Accessories<br />
TA 100 Includes heavy duty gig bag (33400180), 6 function footswitch (AFC-6) with stage length cable.<br />
TA 200 Includes heavy duty gig bag (33400190), 6 function footswitch (AFC-6) with stage length cable.<br />
TA 300 Includes amp cover (33400200), 6 function footswitch (AFC-6) with stage length cable.<br />
19
Peavey Electronics Corporation • 5022 Hartley Peavey Drive • Meridian, MS 39305<br />
Phone: (601) 483-5365 • Fax: (601) 486-1278 • www.peavey.com • 80305744 • Printed in U.S.A.<br />
20