After 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.

“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

Mike Kroeger and Trace — All The Right Reasons

Trace HistoryIn 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 under-powered 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.

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band. How has Nickelback changed over time?

Mike Kroeger: I guess we’ve slowed 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.

TE: How was it to work with him?

MK: Awesome. He’s a bass player. I 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.

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

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 fingerstyle-playing 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 edgy-type 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.

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1210 ComboA 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.

1215 ComboA 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.

12-Band Amplification12-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.

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AH 1200-12A 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.

AH 600-12 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.

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Trace Elliot, The Original Bass Amplification Specialist.

7-Band Amplification7-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 ComboA 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.

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AH 600-7A 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.

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EnclosuresTrace 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.

1028HA 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.

1518cA 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 man-age. Use with the 1028H for a very compact, but powerful, full range stack response.

1048HThe 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.

1518A 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.

1518C

1028H 1048H

1518

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1528/ 1818These 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.

1015HThe 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 AH600-7 or AH600-12, or in pairs with the AH1200-12 for a compact powerful stereo rig.

1084HThe 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.

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.

1084H1015H

15281818

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Suggested Speaker Enclosure Set-upsThis 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.

AH1200-122 x 1028H2 x 1528

Full range, full power, stereo professional touring rig with sophisticated preamp features.

715x1028H1 x 15” Combo & 2 x 10” Cabinet

For full power and increased range.

AH600-121015H

Stack like performance from single, easy to move cabinet.

AH600-71028H1818

AH600-121028H1528

Variations of standard stack with more emphasis on the low end.

12101518c2 x 10” Combo & 1 x 15” Cabinet

For full power stack- like performance.

AH600-121084H

For more traditional focused, punchy and warm sound.

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AH600-71028H1518c

Compact full power, full range gigging stack easy to transport.

AH600-121048H1518

Full range industry standard stack.

AH1200-122 x 1015H

Relatively compact full range, full power stereo rig with sophisticated preamp features.

1215 or 715x1518c1 x 15” Combo & 1 x 15” Cabinet

For full power and increased bottom end.

Owners ManualIncludes all operating instructions, safety information and hints and tips on how to get the best from your Trace Elliot amplifier or enclosure.

BFC-6Allows 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.

BFC-4All 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.

Speakon® CableEach enclosure is packed with a Neutrik Speakon® connector cable for a secure, reliable connection everytime.

Protective CoverAll amplifiers and enclosures come with a hard wearing protective cover.

Accessories So, what do you get when you purchase a Trace Elliot besides British design, quality and reliability?

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Dimensions & Weights: Width Height Depth Weightmm 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 615 24.2 623 24.5 335 13.2 40 87

AH600-7 491 19.3 158 6.2 335 13.2 15 33

AH600-12 491 19.3 158 6.2 335 13.2 17 37

AH1200-12 491 19.3 158 6.2 435 17.1 22 48

1518c 615 24.2 508 20 435 17.1 21 46

1028H 615 24.2 508 20 435 17.1 26 56

1518 615 24.2 682 26.9 435 17.1 27 60

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

SPECIFICATION 7 BAND 12 BANDINPUT 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 +/- 15dB @ 7 frequencies +/- 15dB @ 12 frequencies

COMPRESSOR 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 6 function footcontroller

VALVES 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 IEC lead, protective cover, footcontroller, owners manual

1210 bare combo cabinet cut to show construction:

• Light weight 3/4” plywood

• All jonits rebated

• Internal bracing

• Slot tuning port

• All drivers bolted to baffel into T-nuts

• Manufactured using a CNC router ensuring consistency

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715x 1215 1210Combo Enclosure Specifications:-

Transducer Complement 1 x 15”+Horn 1 x 15”+Horn 2 x 10”+Horn

Total Power Output 600WRMS 600WRMS 600WRMS

Nominal Impedance 8 Ω 8 Ω 8 Ω

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) 5kHz 5kHz 5kHz

Controls Horn switch Horn switch Horn switch

Enclosure Materials & Finish 90% poplar ply, 10% MDF, black vinyl covering, metal hardware

Individual Woofer Spec:-

Power rating 300W 300W 200W

Sensitivity 98dB 98dB 97dB

Voice coil diameter 2 ½” (64mm) 2 ½” (64mm) 2” (51mm)

Magnet Weight 1.4kg / 50oz 1.4kg / 50oz 1.2kg / 42oz

Cone material Kevlar® impregnated paper

Horn type Phenolic horn loaded dome tweeter

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 8 Ω 8 Ω 8 Ω 8 Ω 8 Ω 8 Ω 4 Ω 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 2 x Speakon® and 2 x ¼” jack 3 x Speakon® and 3 x ¼” jack

Enclosure Materials & Finish

90% poplar ply, 10% MDF, black vinyl covering, metal hardware 70% Poplar Ply, 30% Birch Ply, black vinyl covering, additional rear handles and castors

Accessories 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

Specifications

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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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Before 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 studio-quality 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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Ins trument Channel : 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.

Mic. Channel 2 :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.

TA 200200W stereo total power output.4 x Special design Celestion 5” neodymium speakers connected in stereo to power section featuring Dynamic Correction.

TA 100100W 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.

TA 300300W 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.

The Trace Acoustic Series Amplifiers

Studio-Quality Acoustic Reproduction On Stage

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Dig i tal Effec ts sec t ion :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.

Graphic Equal izer :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.

Master sec t ion :Master volume and Mute switch (footswitchable), mutes all outputs except Tuner Out.

AccessoriesTA 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 39305Phone: (601) 483-5365 • Fax: (601) 486-1278 • www.peavey.com • 80305744 • Printed in U.S.A.