Mystery Jets Prove Versatility of Trace Elliot

Kai is not the average bass player and playing with The Mystery Jets he moves between the standard electric 4-string bass and the upright acoustic double bass. This is obviously dependent on the need and mood of the song but he describes all of them as, “Sounding amazing through the Trace Elliot stack”.

The words used by Kai Fish of The Mystery Jets when asked about why he chose the Trace AH1200-12 with the 1048 and 1518 cabs were, "The first bass amp I ever had was a Trace". When a player claims that, and he can still be found using one to this day, it says a lot. Kai goes on to explain that: "The new stuff is even better. The head is so versatile – I can go from a really nice acoustic tone to something that's subby or more aggressive really easily.”

After this year’s Reading and Leeds festivals in August, the Mystery Jets; complete with Kai, his selection of instruments and his ever trusty Trace Elliot stack; can be found on the road solidly for the rest of this year.
 

Marina & The Diamonds Choose Jewels From Trace Elliot

The Trace Elliot 12 Band range is fast becoming the amp of choice for today’s current crop of pop and indie artists. None more so than Marina and the Diamonds. The versatile preamp section allows for every tone imaginable from smooth low grooves to full bore distorted growls and was recently seen during Marina’s impressive appearance on the ‘Later With Jools Holland’ show. The smooth dynamics of the AH600-12 through the 1048H and 1518 cabinets have become an integral part of bassist Dan Gulino’s tone for The Diamonds and has proved invaluable for the sound of their live show.

Marina is following up her critically acclaimed debut, ‘Family Jewels’ and impressive Brit Nomination for the Critics Choice Award with a string of sold out dates across the UK, before heading into Europe and the States. The summer will also see Marina and the Diamonds’ debut at the UK’s Glastonbury Festival, with Dan taking his Trace AH600-12 and cabinets with him on every show. As Dan himself says “The Trace Elliot AH600-12 head has given me the ultimate choice of clear frequencies from mean bottom ends, to a perfect high range! It’s very easy to use and it's beautifully presented. I'll certainly be using Trace Elliot products for a long time!’
 

AmpKit 1.3 Features Trace Elliot, the First Modern Bass Amp Modeled for the iOS Platform

The new version 1.3 of AmpKit, the award-winning iOS guitar and bass amp modeling application from Agile Partners, makes Trace Elliot® the first modern bass amplification system to be modeled for the iOS platform, and the most feature-rich amplifier ever modeled in AmpKit.

For the first time, bass players who use the iOS platform to practice, perform and record can use a fully featured, modern, world-class bass amplifier and cabinet, modeled after the Trace Elliot 1215™combo. Players get all the sophistication they have come to love about the real Trace Elliot amps, including the switchable valve (tube) drive circuit for fat bass distortion and the signature Pre Shape circuit that delivers the classic Trace Elliot tone. Trace Elliot is regarded as the first true specialty bass amplification system.

AmpKit’s Trace Elliot model also includes the famous Trace Elliot 12-band Graphic Equalizer, tuned for bass frequencies, plus the optimized dual-band compressor and a convolution-based simulation of the 1×15 cabinet featuring a specially designed loudspeaker and high-frequency horn—all with the high-quality tone fidelity musicians have come to expect in AmpKit.

AmpKit Version 1.3 also debuts the new breathtaking, 3.1 million-pixel Retina display, which gives users eye-popping graphics of AmpKit’s extensive library of virtual amplifier models. This update also includes extended support for digital guitar interfaces, updated headset input compensation to support the new iPad (3rd Generation) and iPhone 4S, and the ability to save setups for all channels on multi-channel amps.

AmpKit+ Version 1.3
 is available now for only $9.99 on the iTunes Store. The Trace Elliot 1215 amp model can also be purchased separately for $3.99. The original AmpKit app is a free download.

Apple®, iPad®, iPhone® and iPod® are registered trademarks of Apple Inc.

About Trace Elliot®
Regarded as the first true specialty bass amplifier manufacturer, Trace Elliot® established operation in the U.K. during the 1970s and expanded to acoustic guitar amplification in the 1980s. Musicians and retailers throughout the world laud Trace Elliot's unique circuitry and unmistakable performance and are used by some of the world’s most respected players. The current list of artist endorsers includes Mike Kroeger of Nickelback, Nancy Wilson of Heart, Monte Montgomery, Doug Wimbish of Living Colour, Dominic Aitchison of Mogwai, and Anthony Molina of Mercury Rev. Trace Elliot amplifiers are designed in the U.K. and made in the U.S.A., and distributed throughout North America and Europe by Peavey Electronics. To find out more, visit www.traceelliot.com.

###

Trace Acoustic TA-300 Amplifier Scores Perfect 5-Star Review

Trace Elliot® has scored a perfect five-star ranking for its Trace Acoustic® TA-300™ acoustic guitar amplifier in a new review by Acoustic magazine.

“If you need a good monitor sound, effective P.A., incredible definition in your tone, and live performance wow factor, the TA-300 amp is for you,” writes Russell Welton in the May 2011 issue of Acoustic, a U.K.-based publication. “These are high-quality products designed with integrity and made with performance acumen in mind. You can’t fail to be impressed.”

Designed in the U.K. and made in the U.S.A., the Trace Acoustic TA-300 amplifier rated a perfect five stars in all categories of review, from Build Quality to Sound Quality to Value for Money. Welton lauded the amplifier’s renowned studio-quality sound reproduction, exclusive features, “genius” design considerations, onboard effects, clean power and overall performance.

“The first things that grab you are … its clarity, power, well-rounded-out definition and harmonically rich brightness,” he writes. “It is a studio quality-sound straight off the bat. Overall, this would be a sound engineer’s dream to mix and an artist’s joy to use.”

Trace Elliot revolutionized the world of acoustic instrumentation with its original TA™ Series more than two decades ago. The new TA-300, TA-200 and TA-100 amplifiers bring studio-quality acoustic reproduction to the stage through designs that incorporate very high-impedance (piezo pickup) inputs, notch filters, phantom power and Dynamic Correction™, a unique circuitry that reproduces the sparkling top end of an acoustic instrument without relying on high-frequency horns (which can produce harsh, unwanted overtones). These amplifiers also feature Trace Elliot’s signature Shape circuit and built-in auto-compressor on each channel, as well as customizable DSP effects with parameter and setting adjustment with separate reverbs that can be assigned to each channel.

Please visit www.youtube.com/watch?v=MIivG9llCwE for a video demo of the TA Series. The TA Series is available now from authorized Trace Elliot dealers.

Featured on All TA Series Amplifiers:

  • Built in auto-compressor on all channels
  • Signal level LED on all channels
  • Shape switch for instant EQ’d sound on all channels (footswitchable on Channel 1)
  • Footswitchable Phase switch on all channels
  • Effect Parameter and Setting rotary encoders
  • Allows for separate levels of Reverb to be applied to each channel
  • Tap tempo (from either front panel or footswitch)
  • FLS® Feedback Locating System on each band of EQ using LEDs to indicate where feedback is occurring
  • Master Volume and Mute switch (footswitchable) that mutes all outputs except Tuner Out
  • Tuner output, Left and Right Preamp Outputs and Power Amp Inputs (to use as effects loop)
  • Two DI outputs; can be configured as dry Channel 1 and Channel 2 out, or processed Left and Right channels out
  • Illumination switch for turning front panel lights on or off
  • Power amp featuring Dynamic Correction
  • Designed in the U.K. and made in the U.S.A.


TA-300 Features:

  • Two preamp channels with 300 watts total power output
  • 2 x 5” specially designed neodymium Celestion® speakers and 1 x 12” G12 Century Vintage neodymium Celestion speaker
  • 1/4” jack input with piezo switch for ultra-high impedance input stage on Channel 1
  • Combination balanced XLR and 1/4” jack input with phantom power switch on Channel 2
  • Lo-Trim & Hi-Trim rotary controls on Channel 1
  • Gain & Notch filter rotary controls on both Channels
  • Channel 1 can also have either Chorus, Flanger, Phaser, Tremolo, or various delays including stereo Ping Pong
  • Six-band graphic EQ
  • Custom-fitted ballistic nylonprotective cover included
  • U.S. MSRP $1,999.99


About Trace Elliot®

Regarded as the first true specialty bass amplifier manufacturer, Trace Elliot® established operation in the U.K. during the 1970s and expanded to acoustic guitar amplification in the 1980s. Musicians and retailers throughout the world laud Trace Elliot's unique circuitry and unmistakable performance and are used by some of the world’s most respected players. The current list of artist endorsers includes Mike Kroeger of Nickelback, Nancy Wilson of Heart, Monte Montgomery, Doug Wimbish of Living Colour, Dominic Aitchison of Mogwai, and Anthony Molina of Mercury Rev. Trace Elliot is distributed throughout North America and Europe by Peavey Electronics. To find out more, visit www.traceelliot.com.

Vintage Guitar Reviews the ‘Gamechanger’ Trace Acoustic TA-300 Amplifier

Vintage Guitar magazine had plenty of nice things to say in its review of the versatile Trace Acoustic TA-300 acoustic guitar amplifier in its November 2011 issue, available at newsstands now.

"The TA-300 could be a gamechanger … the evolution of acoustic-guitar amps just took a big step forward," wrote Pete Prown. 

amps just took a big step forward.

"While those who perform live have long known about the heavenly combination of compression and digital effects, it has been a challenge to find them all in one amp. Here, though, those

capabilities are at your fingertips, as they can tweak their volume, tone, and effects all – and this is important – in one box. So where the guitarist formerly had to lug a guitar, amp, or
P.A., and an effects rack, now it’s just one guitar and one 26-pound amp."

Click here to read the full review.

While those who perform live have long
known about the heavenly combination
of compression and digital effects,
it has been a challenge to find them
all in one amp. Here, though, those
capabilities are at your fingertips, as
they can tweak their volume, tone,
and effects all – and this is important
– in one box. So where the guitarist
formerly had to lug a guitar, amp, or
P.A., and an effects rack, now it’s just
one guitar and one 26-pound amp.
While
those who perform live have long
known about the heavenly combination
of compression and digital effects,
it has been a challenge to find them
all in one amp. Here, though, those
capabilities are at your fingertips, as
they can tweak their volume, tone,
and effects all – and this is important
– in one box. So where the guitarist
formerly had to lug a guitar, amp, or
P.A., and an effects rack, now it’s just
one guitar and one 26-pound amp.While
those who perform live have long
known about the heavenly combination
of compression and digital effects,
it has been a challenge to find them
all in one amp. Here, though, those
capabilities are at your fingertips, as
they can tweak their volume, tone,
and effects all – and this is important
– in one box. So where the guitarist
formerly had to lug a guitar, amp, or
P.A., and an effects rack, now it’s just
one guitar and one 26-pound amp.

Nickelback’s Mike Kroeger & His ‘Dark Horse’ Win

 

After 13 years, over 27 million albums sold worldwide, and once spending an astounding 112 consecutive weeks in the Billboard Top 30, it might seem ironic that the current album by the band Nickelback is titled Dark Horse. But according to founding bassist and Trace Elliot® artist Michael Kroeger, the band 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.”

 

Kroeger says this is especially true given the huge transformation that has occurred within the music industry in recent years. “To be successful in any way is beating the odds right now,” explains Kroeger.

 

Trace Elliot sat down with Mike Kroeger backstage in Nashville to discuss Nickelback’s success, their amazing live shows, what it was like co-producing with the legendary ­­­Mutt Lange, and what he loves about his Trace Elliot rig.

 

Trace Elliot:  Nickelback has released six successful albums in 13 years. How have you changed as a band over the years?

 

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! [laughing] But we’ve done a lot more touring as a result of things going blessedly well at the album level—getting some radio and doing a lot of touring, which is a good sign!

 

TE:  2005's All The Right Reasons sold 11 million copies worldwide. 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:  Eight singles – two years from release and the album still has life. Did you 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 loved and that were some of our favorite records.  So you know you’re in good hands, I guess you could say. We were happy to be able to work with the guy. We call what the producer does ‘steering the ship.’ We co-produced with him, but he’s a been-there- done-that-guy. He has literally been there and done that on everything, you know?

 

TE: How was it to work with him?

 

MK:  Awesome. He’s a bass player. I learned a great deal about how to play bass from Mutt. He was in a band, like in the ‘60s. 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. And he also 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 like 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 and getting a little more in touch with the vocal.  More in touch with what the vocals are doing to contribute to that melodic structure.

 

TE: Nickelback is known for having one 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. We bring different elements to the shows. I heard yesterday that our new PA amp racks officially have 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! [laughing]

 

TE: Anything new on this leg of the tour that you want to tell people about?  Or is that a secret?

 

MK:  No, I want ‘em to come and see it!  It’s a re-configured version of what we’ve been doing out there. Instead of rolling the same stage show for two years, we try to take it and sort of reconfigure it and change it around through video elements or pyro elements or lighting elements. And the set list, of course, is going to change as well.  We try to keep it fresh because a lot of the same people are coming every time, you know, especially when you go back to towns again. Those same folks are going to be there, so it’s nice to give ‘em a little something different.

 

TE:  On this tour, you are using a huge Trace Elliot rig. Can you give us a rundown on the setup?

 

MK:  Well, we usually have the Trace Elliot 1015s with two 10s and a 15 in it, and then the 1818s on the bottom. We have two AH1000-12 heads running—one of them running to the 1818s and one to the 1015s. We have it EQ’d just a little bit differently for the two types of cabinets, then we 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 in this tour?

 

MK:  Once we get a rig where we want it, we kinda leave it there for the most part. But, you know, we go from a really edgy-type pick sound to a really warm, smooth, woofy finger sound. We don’t change any settings except add a little of a secret weapon that we’re not gonna talk about here. But we add the secret weapon when we’re playing with the pick. We leave everything where it is and it goes off. The Trace Elliot sound is great.

 

TE:  How many different basses do you have on the road?

 

MK: Ten. I’ve just been informed. This just in… ten. Ha, Ha!  [laughs]

 

TE:  What’s next for Nickelback? 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. I’m getting tired of saying it because at the end of every tour we say, “Oh, we’re gonna take lots of time off and then go make a record.” But we don’t do that. You say you’re going to take time off and then, three weeks go by and everybody’s trigger finger gets itchy and you gotta 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. Oh, please … maybe halfway through the surf season, before we get back to work!

Introducing Trace Acoustic Amplifiers

 

Jan. 13, 2011, ANAHEIM, Calif. (NAMM exhibit #5278, Hall B) — British amplifier designer Trace Elliot® proudly announces the availability of the full Trace Acoustic® guitar amplifier line.

Over two decades ago, Trace Elliot revolutionized the world of acoustic instrumentation with its original TA™ Series. Trace Elliot brought studio-quality acoustic reproduction to the stage through designs that incorporated very high-impedance (piezo pickup) inputs, notch filters, phantom power, DSP effects and Dynamic Correction™, unique circuitry that reproduces the sparkling top end of an acoustic instrument without relying on high-frequency horns (which can produce harsh, unwanted overtones).

While the influence of Trace Acoustic is still widely felt throughout the industry, today acoustic musicians can experience a new generation of Trace Acoustic models more evolved than their classic forebears, yet still endowed with their original engineering spirit of innovation. Lighter and more powerful than ever with a wealth of cutting-edge features, the new generation of Trace Acoustic amps again sets the standard for acoustic amplification.

Designed in the U.K. and produced in the U.S.A., the Trace Acoustic TA Series consists of three models: the TA-300™, TA-200™ and TA-100™. All models feature Trace Elliot’s signature Shape circuit and built-in auto-compressor on each channel, as well as customizable DSP effects with parameter and setting adjustment with separate reverbs that can be assigned to each channel.

These versatile new amps include two modes of switchable features for presets and performance variable controls, all of which are also conveniently footswitchable using the supplied six-function foot controller with 25-foot cable. New FET circuitry ensures switching is extremely quiet and not audible during a performance. 

In addition, the TA-100 and TA-200 include a rugged, ballistic nylon shoulder bag, so players can carry both their amp and guitar at the same time. The TA-300 includes a high-quality amp cover to protect it during transit. 

Trace Acoustic TA Series amplifiers are available now from authorized retailers.

Featured on All Models:

  • Built in auto-compressor on all channels
  • Signal level LED on all channels
  • Shape switch for instant EQ’d sound on all channels (footswitchable on Channel 1)
  • Footswitchable Phase switch on all channels
  • Effect Parameter and Setting rotary encoders
  • Allows for separate levels of Reverb to be applied to each channel
  • Tap tempo (from either front panel or footswitch)
  • FLS® Feedback Locating System on each band of EQ using LEDs to indicate where feedback is occurring
  • Master Volume and Mute switch (footswitchable) that mutes all outputs except Tuner Out
  • Tuner output, Left and Right Preamp Outputs and Power Amp Inputs (to use as effects loop)
  • Two DI outputs; can be configured as dry Channel 1 and Channel 2 out, or processed Left and Right channels out
  • Illumination switch for turning front panel lights on or off
  • Power amp featuring Dynamic Correction
  • Designed in the U.K. and made in the U.S.A.

TA-300:

  • Two preamp channels with 300 watts total power output
  • 2 x 5” specially designed neodymium Celestion® speakers and 1 x 12” G12 Century Vintage neodymium Celestion speaker
  • 1/4” jack input with piezo switch for ultra-high impedance input stage on Channel 1
  • Combination balanced XLR and 1/4” jack input with phantom power switch on Channel 2
  • Lo-Trim & Hi-Trim rotary controls on Channel 1
  • Gain & Notch filter rotary controls on both Channels
  • Channel 1 can also have either Chorus, Flanger, Phaser, Tremolo, or various delays including stereo Ping Pong
  • Six-band graphic EQ
  • Custom-fitted ballistic nylonprotective cover included
  • U.S. MSRP $1,999.99

TA-200:

  • Two preamp channels with 200 watts stereo total power output
  • 4 x 5” specially designed neodymium Celestion® speakers connected in stereo
  • 1/4” jack input with piezo switch for ultra-high impedance input stage on Channel 1
  • Combination balanced XLR and 1/4” jack input with phantom power switch on Channel 2
  • Lo-Trim & Hi-Trim rotary controls on Channel 1
  • Gain & Notch filter rotary controls on both Channels
  • Channel 1 can also have either Chorus, Flanger, Phaser, Tremolo, or various delays including stereo Ping Pong
  • Six-band graphic EQ
  • Custom-fitted ballistic nylon bag included
  • U.S. MSRP $1,699.99

TA-100:

  • Two preamp channels with 100 watts stereo total power output
  • 2 x 5” specially designed neodymium Celestion® speakers connected in stereo
  • 1/4” jack input with piezo switch for ultra-high impedance input stage on Channel 1
  • Combination balanced XLR and 1/4” jack input with Phantom power switch on Channel 2
  • Lo-Trim & Hi-Trim rotary controls on Channel 1
  • Gain & Notch filter rotary controls on both Channels
  • Channel 1 can also have either Chorus, Flanger, Phaser, Tremolo, or various delays including stereo Ping Pong
  • Six-band graphic EQ
  • Custom-fitted ballistic nylon bag included
  • U.S. MSRP $1,449.99