I had one of these a few years ago and they are good for coffee shops and things like that. They are not a Marshall Stack. They only weigh about 22 lbs. Its a 50 watt amp. This amp is the second generation. The first was made in England by Trace Elliot. This is the buy out and addition from the Gibson company. It will stay in the Palm Recording Studio and I will use it on gigs out. Looking forward to hearing this new addition. It also can work with a amp modeling unit like the Pod XT Pro. Should be a nice small gigging amp. I will use it in conjunction with the Fishman Aura.
Preamp As above
Output stage MOSFET with Dynamic CorrectionTM
Output Power 50 Watts RMS
Output Impedance 16Ω
Speaker Configuration 2 x 5”
Dimensions W430mm / H250mm / D250mm
Weight 10Kg
O P E R A T I N G
I N S T R U C T I O N S
T A 5 0 R
TA100R
TA200S
Welcome to the world of TRACE ACOUSTIC where all products are specifically designed and
engineered for the amplification of ACOUSTIC instruments.
Each amplifier includes many features and facilities that enable it to reproduce acoustic instruments
accurately and at volume in conjunction with any type of pick up or transducer.
The amplifier you have purchased is a second generation amplifier that has been completely
redesigned to add improvements in performance and build quality over the original TA50, TA100
and TA200 units that were ground breaking pioneers in the acoustic arena.
These improvements have been made possible with the knowledge we have gained from the
thousands of artists that have used and still use their original TRACE ACOUSTIC amplifiers.
In order to preserve continuity in updating this range we have retained the original specification of
controls and facilities. We have also kept a very similar layout to the front and back panels in order
that artists feel at home with the new products and are able to swap ideas on settings, channel
usage and interconnections between both the original and the latest products.
Where there are differences these will be pointed out within these operating instructions.
PREAMPLIFIER
The preamplifier section used in the TA50R and the TA100R are identical in every respect. The
TA200RS uses two of these preamplifiers to provide either 4 channels or 2 channels of complete
split stereo operation.
CHANNEL 1 ( and CHANNEL 3 on the TA200S )
INSTRUMENT INPUTS
Channel 1 is the HIGH Z or HIGH IMPEDANCE channel and will be the one most commonly used
for plugging your instrument pick up or transducer into.
Two inputs have been provided on this channel to cope with the wide variety of different types of
acoustic instrument pick ups and the equally wide variation in signal level from different pick up
and instrument combinations.
PIEZO / LO-LEVEL
The first of these is the PIEZO / LO-LEVELinput. This input is designed to suit any kind of pick up
that does not have its own built in preamp. This includes piezo transducers and wound pick ups
that are either built into the instrument or attached to it in some way.
The input has an extremely high input impedance that is essential for piezo pick ups to allow them
to reproduce a rich and full sound, into a lower impedance they can sound thin and tinny. This
very high impedance input also gives excellent results with wound or other types of passive
transducer.
This input is far more sensitive than the ACTIVE input and may also be used where you have an
active instruments that has a low level output signal (Ovation guitars are included in this category).
4
PULL REV
INPUT GAIN LO-TRIM HI-TRIM
ACTIVE
HI-LEVEL
PIEZO
LO-LEVEL
CHANNEL 1 HIGH Z
SIGNAL LEVEL PULL REV
INPUT GAIN
CHANNEL 2 LOW Z - BALANCED
PHANTOM POWER
MASTER EQUALISATION
+
O
+
O
PULL SHAPE
POWER
DIGITAL REVERB
PROGRAM LEVEL NOTCH
FILTER MASTER
LEVEL
IN/OUT
100 330 1k 3k5 10k
MIC INPUT
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15 16
+
O
+
O
TA100R
ACTIVE / HI-LEVEL
The second input is the ACTIVE / HI-LEVELinput. This input should be used with instruments that
have inbuilt electronics with a large signal output as these could overload the input stage of the
PIEZO / LO-LEVELinput.
INPUT GAIN CONTROL - SIGNAL LEVEL INDICATION
It is very important to set the INPUT GAIN control correctly in order to provide the amplifier with
the optimum level of signal. This control is not a volume control for the channel, it is to enable you
to set the correct input level to the channel. If this control is set too low you may experience
excessive background noise and inadequate effects level.
This control is set in conjunction with the SIGNALLEVELLED. To set this control correctly use the
following procedure:-
1. Plug the instrument into the appropriate input depending on your type of instrument
or pick up.
2. Set the graphic to flat ( all sliders in the center ), the LO-TRIM and HI-TRIM their center
positions and the MASTER LEVELto zero.
3. Play the instrument in the way you wish to use it ( i.e. strumming, finger picking etc).
4. Increase the INPUT GAIN control until the SIGNALLEVELLED lights up GREEN for most
of the time while playing and changes to RED on peaks or heavy playing.
5. If the LED cannot be made to register RED while using the ACTIVE / HI-LEVELinput then
transfer your input to the PIEZO / LO-LEVELinput and re-adjust the INPUT GAIN as from step 3.
IMPORTANT! When correctly set, the GREEN LED should light for most of the time while playing
and change to RED only on peaks.
N.B. As the SIGNALLEVELLED monitors the signal from after the GRAPHIC and the PULLSHAPE
facility it may be necessary to re-adjust the INPUT GAIN control once these have been altered.
This control also has a PULLswitch built into it to turn on the digital effects for this channel
( PULLREV ).
LO-TRIM / HI-TRIM
The HI and LO trim controls have been provided to ‘Trim’the sound from the instrument / pick up
combination to achieve a flat response prior to any tailoring of the sound with the graphic or pull
shape facilities.
These controls may also be used as EQ controls to adjust the top and bottom end of the instrument
sound.
Do not boost the LO-TRIM excessively as this will have the effect of increasing the chances of low
frequency feedback.
CHANNEL 2 ( and CHANNEL 4 on the TA200RS )
Channel 2, the LOW Z or LOW IMPEDANCE channel has two inputs, one being a jack and the
other a female XLR socket. These are both low impedance, balanced inputs. Amono jack plug may
be used in the jack input for an unbalanced signal connection if required.
These inputs are for use with pickups that offer a low impedance, balanced output. The jack input
may also be used for a second ACTIVE instrument if required.
The XLR input is suitable for use with a microphone for amplifying acoustic guitar, other acoustic
instruments or vocals. Phantom powering ( 48V ) is available with the switch next to the XLR. The
phantom power is ON when the switch is IN. Only use this if you have a capacitor microphone
that requires external phantom powering.
5
INPUT GAIN - SIGNAL LEVEL INDICATION
Set the INPUT GAIN control of channel 2 in the same way as for CHANNEL1.
This control also has a PULLswitch built into it to turn on the digital effects for this channel
( PULLREV ).
GRAPHIC EQUALISATION
The five bands of graphic equalisation offered have their centre frequencies chosen specifically to
suit acoustic instruments and may be used to adjust the overall sound of the amplifier.
Avoid extreme settings on any slider as these are unlikely to give useful results. Also avoid
boosting the 100Hz slider too much as this will tend to increase the chances of low frequency
feedback.
POWER LED
This LED indicates when the amplifier is connected to the mains supply and switched on.
DIGITAL EFFECTS
The 16 bit Digital effects board built into the TRACE ACOUSTIC amplifiers uses a 16 way rotary
PROGRAM switch for selection of the 12 reverb and the 4 delay settings, and a LEVELcontrol to
adjust the depth or amount of reverb added to the signal.
Reverb is assignable to each channel by means of the PULLREVERB switch on the INPUT GAIN
controls of both channels.
The digital effects selectable with the 16 way rotary switch are as follows:-
( these are different to those available on the previous models )
1. HALLREVERB Decay 1.5s
2. HALLREVERB Decay 3.0s
3. HALLREVERB Decay 5.0s
4. HALLREVERB Decay 9.0s
5. ROOM REVERB Decay 1.0s
6. ROOM REVERB Decay 2.0s
7. ROOM REVERB Decay 3.0s
8. ROOM REVERB Decay 4.5s
9. PLATE REVERB Decay 0.8s
10. PLATE REVERB Decay 1.8s
11. PLATE REVERB Decay 2.8s
12. PLATE REVERB Decay 3.8s
13. DIGITALDELAY Single repeat 150ms
14. DIGITALDELAY Single repeat 500ms
15. DIGITALDELAY Multiple repeat 150ms
16. DIGITALDELAY Multiple repeat 500ms
Alower noise unit with a better selection of effects has been used in these second generation
TRACE ACOUSTIC AMPLIFIERS.
NOTCH FILTER ( ANTI FEEDBACK )
All models in the TRACE ACOUSTIC series include a NOTCH FILTER that can be switched IN and
OUT. This is included as an anti-feedback device to allow amplification of an acoustic instrument
( particularly acoustic guitar ) without trouble from feedback caused by the resonance of the body
of the instrument.
6
What is a Notch Filter?
Basically, what a Notch Filter does is to remove a very narrow band of frequencies from the
response of the amplifier. If this band of frequencies is narrow enough it will not be missed from
the wide band frequency response of the unit. This narrow band or ‘Notch’is then made tunable
so that it can be adjusted to the resonant frequency of the body of the instrument, thus reducing
the amplification at that particular frequency and eliminating the feedback.
Why is the necessary?
The pick up on an acoustic guitar is usually mounted on or near the bridge of the instrument, at
the centre of the front of the soundboard. This picks up the vibration of the strings but also picks
up the vibration of the soundboard itself. The soundboard, being a relatively large area, will also
pick up the sound from the speaker. This will be amplified via the pickup and amplifier and cause
feedback to occur at the resonant frequency of the soundboard.
Each guitar will have its own resonant frequency and it is this frequency that you must adjust the
NOTCH FILTER control to find. The most effective way of doing this is to slightly deaden the
strings of the instrument, turn up the amplifier until feedback occurs, switch in the NOTCH
FILTER and adjust it until the feedback disappears.
This has tuned the NOTCH FILTER to the basic resonant frequency of your instrument, the
frequency at which feedback is most likely to occur, and will allow the instrument to be amplified
much louder than if no NOTCH FILTER were available. If the amplifier is turned up further then
feedback will still occur at another frequency. The only way to stop this is to either move further
away from the amplifier or reposition yourself relative to the amplifier.
The range of the NOTCH FILTER has been reduced from the previous generation of acoustic
amplifiers to cover only that area of the frequency spectrum where we know from experience that
feedback is likely to occur.
This makes it easier to adjust the NOTCH FILTER. The depth and width of the NOTCH remains
the same.
PHASE SWITCH ( TA100R only )
The TA100R has a speaker PHASE switch located on the rear panel. Switched to its IN PHASE
position this facility has no effect on the sound of the amplifier. However, when switched to OUT
of PHASE it causes phase cancellation to occur at various frequencies that give enhanced clarity
and extra projection to the sound. Phase cancellation also tends to reduce further the chances of
feedback occurring.
PULL SHAPE
The MASTER LEVELcontrol is fitted with a PULLSWITCH that activates the SHAPE facility.
The SHAPE is actually a pre determined, fixed EQ that can be switched in to add an instant
‘sparkle’to the sound that is appropriate to both rhythm playing and fingerpicking styles.
Please note:- With the Shape switch pushed IN, the graphic set flat, the notch filter switched OUT
and the HI-TRIM and LO-TRIM controls in their centre positions the amplifier has a perfectly flat
frequency response. i.e. this is the actual sound of your instrument when amplified and is a good
place to start from in amplifying an acoustic instrument. If you know the natural sound of your
instrument when amplified you can make more objective decisions about what to do to either
enhance or correct it.
7
MASTER LEVEL
The MASTER LEVELcontrol sets the overall output level of the amplifier and, providing the INPUT
GAIN controls have been correctly set this control should not have to be on a very high setting.
Having the MASTER LEVELcontrol on a high setting and the INPUT GAIN on a low setting will
only result in unnecessary noise being added to the amplifier and will tend to degrade the signal
purity. Please check that you have adjusted the INPUT GAIN control to its optimum setting.
BACK PANEL FACILITIES ( TA50R and TA100R
PHASE SWITCH ( TA100R only )
The TA100R has a speaker PHASE switch located on the rear panel. Switched to its IN PHASE
position this facility has no effect on the sound of the amplifier. However, when switched to OUT
of PHASE it causes phase cancellation to occur at various frequencies that give enhanced clarity
and extra projection to the sound. Phase cancellation also tends to reduce further the chances of
feedback occurring.
REVERB FOOT SWITCH
The REVERB F/S jack socket allows an external footswitch ( not supplied ) to be plugged into the
unit to turn the internal digital effects on and off. The internal effects will be muted when the
switch is shorted.
THE ‘LINK’FACILITY
The LINK facility allows two TRACE ACOUSTIC amplifiers to be connected together to operate as
one single larger unit.
To use this simply connect a jack to jack cable from the LINK socket on one unit to the LINK
socket on the other. The preamplifiers in both units will still operate independently but with their
respective MASTER LEVELcontrols setting the overall volume from the speakers of both
interconnected units.
All facilities on both preamplifies will operate as normal but the amplified sound will come from
both units. ( e.g. if you plug into either preamplifier, the sound will come from both units: if you
add reverb, this will come from both, etc ).
This LINK socket is configured so that it operates as a LINE OUT as well as a LINE IN connection.
EFFECTS SEND and RETURN
The TRACE ACOUSTIC preamp is provided with a serial effects loop and the sockets for this are
located on the rear panel.
The EFFECTS SEND socket is for linking the preamp sound into your effects unit and the EFFECTS
RETURN socket for returning the signal back to the preamp.
8
o I
POWER
OFF ON
50/60Hz
115 V - T 3.15A
230 V - T 1.6A
VAC
POST EQ D.I.
PRE EQ D.I.
RETURN
SEND
LINK
REVERB F/S
EFFECTS
SPEAKER
PHASE
OUT
IN
PIN 1 = GND, PIN 2 = SIG+, PIN 3 = SIG-
'LINK' ACTS AS A
'LINE IN' AND A
'LINE OUT'
SHORT OUT TO
MUTE REVERB
MANUFACTURED IN ENGLAND BY: TRACE ELLIOT LIMITED
SERIAL No:-
MAINS INPUT 150V.A 115v @ 1.3A
As this is a SERIALeffects loop then you will need to adjust the balance of direct to effect sound
within your external effects unit ( i.e. dry/wet mix ).
The signal path through the preamp is only broken when a jack plug is inserted into the EFFECTS
RETURN socket. The EFFECTS SEND signal may therefore be used as a pre master volume LINE
OUT socket or connected to a tuner. This will allow silent tuning by turning the MASTER LEVEL
CONTROLto zero, tuning up and returning the MASTER LEVELcontrol back to its original setting.
The EFFECTS LOOPis located after the graphic and shape facilities and is in parallel with the
internal effects.
The circuit configuration for this effects loop has been changed from the previous generation of
amplifiers so that the overall gain of the amplifier is not affected by the impedance of the external
effects unit.
BALANCED DI
Two balanced DI outputs are provided on the preamp for direct connection to a balanced ‘Mic’
input on a mixing desk. These may be used for either Direct Injection of the instrument into a PA
system or for recording purposes.
The balanced DI’s are provided on standard Male XLR sockets located on the back panel. The two
balanced XLR DI sockets are marked PRE EQ and POST EQ.
The PRE EQ socket takes its signal from before the graphic equaliser. POST EQ takes its signal from
after all equalisation, after the internal effects, and after the effects loop, but before the master level
control.
The level of the DI output is fixed at a suitable level to suit the low impedance ‘Mic’input on a
mixing desk. This level is dependent on the setting of the INPUT GAIN control and it is important
to have this set correctly ( see INPUT GAIN section ).
The circuit driving the DI sockets has been re-designed to produce a lower noise output than the
previous generation of amplifiers.
BACK PANEL FACILITIES TA200S
BALANCED DI
Three balanced DI outputs are provided on the TA200 for direct connection to a balanced ‘Mic’
input on a mixing desk. These may be used for either Direct Injection of the instrument into a PA
system or for recording purposes.
The balanced DI’s are provided on standard Male XLR sockets located on the back panel. The
balanced XLR DI sockets are marked PRE EQ ( RIGHT & LEFT ), POST EQ RIGHT and POST EQ
LEFT.
The PRE EQ socket takes its signal from before the graphic equalisers and includes channels 1, 2, 3
& 4 in a single mono DI. This is why it is marked RIGHT & LEFT because it includes all channels
on the amplifier regardless of the MODE setting.
9
POST EQ DI PRE EQ DI
RIGHT LEFT RIGHT & LEFT
LINK/LINE
RIGHT LEFT
MODE
OUT
SPLIT STEREO
IN
MONO PREAMP
STEREO LOOP
RIGHT LEFT/MONO
EFFECTS
RETURN EFFECTS
SEND EFFECTS MUTE
FOOTSWITCH
RIGHT LEFT
SHORT OUT TO
MUTE EFFECTS
'LINK' ACTS AS A
'LINE IN' AND A
'LINE OUT'
PIN 1 = GND, PIN 2 = SIG+, PIN 3 = SIG-
POST EQ takes its signal from after all equalisation, after the internal effects, and after the effects
loop, but before the master level control. Because the amplifier has stereo capabilities there is one
socket for the LEFT signal and one socket for the RIGHT signal.
The level of the DI output is fixed at a suitable level to suit the low impedance ‘Mic’input on a
mixing desk. This level is dependent on the setting of the INPUT GAIN control and it is important
to have this set correctly ( see INPUT GAIN section ).
The circuit driving the DI sockets has been re-designed to produce a lower noise output than the
previous generation of amplifiers.
THE ‘LINK’FACILITY
The LINK facility allows two TRACE ACOUSTIC amplifiers to be connected together to operate as
one single larger unit or for one TA200 to be connected to two TA100’s as satellite units for more
power and a greater stereo spread.
To use this simply connect a jack to jack cable from one LINK socket on one unit to the LINK
socket on the other. The preamplifiers in both units will still operate independently but with their
respective MASTER LEVELcontrols setting the overall volume from the speakers of both
interconnected units. All facilities on both preamplifiers will operate as normal but the amplified
sound will come from both units. ( e.g. if you plug into either preamplifier, the sound will come
form both units: if you add reverb, this will come from both, etc.).
This LINK socket is configured so that it operates as a LINE OUT as well as a LINE IN connection.
MODE BUTTON
The MODE push button selects the stereo mode that the unit is operating in.
When the button is ‘IN’the MODE is MONO PREAMPSTEREO LOOP. this means that no matter
which channel you plug into your sound will come out of both the RIGHT and LEFT speakers. The
EFFECTS LOOPwill however operate in stereo. This will be the most common method of use of
the amplifier as the alternative MODE requires the use of a stereo instrument.
When the button is ‘OUT’the MODE is SPLIT STEREO. In this mode CHANNELS 1 & 2 will come
out of the LEFT set of speakers and CHANNELS 3 & 4 will come out of the RIGHT set of speakers.
This allows a full stereo instrument for instance, to be plugged in with the LEFT signal from the
instrument into channel 1 and the RIGHT signal into channel 3, with the two sets of controls on
the LEFT and RIGHT preamps operating independently on the two halves of the stereo signal. This
includes the graphic equalisers and the effects sections e.g. it is thus possible to have reverb on the
left signal and a delay on the right.
The external effects loop will operate as before with a mono SEND combining the signals from
channels 1, 2, 3 & 4, and stereo returns.
EFFECTS SEND and RETURN
The TA200 has a parallel effects loop with stereo returns and the sockets for this are located on the
rear panel.
The EFFECTS SEND socket is for linking the preamp sound into your effects unit and the EFFECTS
RETURN sockets for returning the signal back to the preamp.
As this is a PARALLELeffects loop then you will need to RETURN just the effect signal from the
external effects unit i.e. set the wet/dry mix on the EXTERNALunit to WET.
The signal path through the preamp is not broken when a jack plug is inserted into the EFFECTS
RETURN sockets. The EFFECTS SEND signal may therefore be used as a pre master volume LINE
OUT socket or connected to a tuner. This will allow silent tuning by turning the MASTER LEVEL
CONTROLto zero, tuning up and returning the MASTER LEVELcontrol back to its original setting.
The EFFECTS LOOPis located after the graphic and shape facilities and is in parallel with the
internal effects.
10
The circuit configuration for this effects loop has been changed from the previous generation of
amplifiers so that the overall gain of the amplifier is not affected by the impedance of the external
effects unit.
REVERB FOOT SWITCH
The REVERB F/S jack sockets allow external foot switches ( not supplied ) to be plugged into the
unit to turn the internal digital effects on and off for either channels 1 & 2 ( LEFT ) or channels 3 &
4 ( RIGHT ). The internal effects will be muted when the switch is shorted.
FACILITIES COMMON TO TA50R, TA100R and TA200RS
MAINS INLET SOCKET
For connection to your countries mains supply. Ensure that the amplifier has the correct voltage
marked on the back panel for your country prior to connecting the mains power cable to the
supply.
For your own safety be sure that the power supply socket that you are plugging into is adequately
earthed.
The MAINS INLET also contains the fuse carrier beneath it that holds the 20mm supply fuse for the
unit. In the event of failure of this fuse always replace it with the same rating and type as marked
on the rear panel ( see Safety Instructions section ).
POWER SWITCH
This is used for turning the power to the unit ON and OFF. The POWER LED on the front panel
will light to indicate when the power to the unit is turned ON.
Always make a habit of reducing the MASTER LEVELcontrol to zero before turning the unit on or
off. This is just good sense really as any instrument connected to the input of the amplifier could
cause hum pick up or start feeding back if left unattended when the unit is switched on.
THE SPEAKERS
These TRACE ACOUSTIC combos all use multiples of 5” speakers. The TA50 utilise two such units,
the TA100 have four and the TA200 has eight split into two groups of four for its stereo operation.
5” speakers were chosen for their ability to handle a wide frequency spectrum, especially the top
end, as a clear and clean high frequency response is essential for accurate reproduction of acoustic
instruments.
DYNAMIC CORRECTION
To assist the speakers further in the accurate reproduction of acoustic instruments, an electronic
system called DYNAMIC CORRECTION is used.
This is a unique system developed by TRACE ELLIOT that monitors exactly the way in which the
speakers react to the signal being presented to them and compares this directly with the original
input signal. Any differences detected are ‘Dynamically Corrected’, ensuring that the speakers
reproduce the original signal with an exceptionally high degree of accuracy.
The result is a totally clean sound, right up to the maximum power handling of the amplifier.
POWER OUTPUT STAGE
The DYNAMIC CORRECTION is incorporated actually within the output stage of the amplifier,
sensing the motion of the speakers and feeding this back to the power section for instantaneous
correction if required.
11
Every part of the TRACE ACOUSTIC series of amplifiers has been designed specifically for the
accurate reproduction of acoustic instruments. This includes the cabinet, the speakers, the
electronics and facilities of the preamp, the output stage, the Dynamic Correction etc. in a
continuous development program assisted by both acoustic instrument manufacturers and acoustic
musicians of every kind including guitar, banjo, mandolin, violin, trumpet, saxophone, woodwind,
harmonica, harp and many other players.
We thank you for your continued interest and for the assistance you have given in producing the
worlds best acoustic instrument amplification range.
TRACE ACOUSTIC SPECIFICATIONS
TA50R, TA100R, TA200R Preamplifier
Inputs Piezo/Lo-Level Impedance 10 MΩ
Sensitivity 100mV to 8V peak to peak
Active/Hi-Level Impedance 6k8Ω
Sensitivity 100mV to 20V peak to peak
Low Z Balanced Impedance 470Ω
Gain Range +15dB to + 60dB
Effects Return Impedance 22kΩ
Nominal Level 0dBv
Link/Line In Impedance 4k7Ω
Nominal Level 0dBv
Outputs Effects Send Impedance 47kΩ
Nominal Level 0dBv
Balanced DIís Impedance 600Ω
Level 500mV peak to peak
Link/Line Out Impedance 4k7Ω
Nominal Level 0dBv
EQ Master +/- 15dB at 5 centre frequencies
Shape +6dB @ 160Hz, -6dB @ 900Hz,
+10dB @ 6kHz
Notch Q = 10, Range 60 to 720Hz
Phantom Power 48V DC
Digital Effects 16 Bit, 4 x Room, 4 x Hall, 4 x Plate,
4 x Delay. Foot switcable on/off.
12
TA50R
Preamp As above
Output stage MOSFET with Dynamic CorrectionTM
Output Power 50 Watts RMS
Output Impedance 16Ω
Speaker Configuration 2 x 5”
Dimensions W430mm / H250mm / D250mm
Weight 10Kg
TA100R
Preamp As above
Output stage MOSFET with Dynamic CorrectionTM
Output Power 100 Watts RMS
Output Impedance 8Ω
Speaker Configuration 4 x 5” With Phase switch
Dimensions W810mm / H370mm / D305mm
Weight 17Kg
TA200R
Preamp As above x 2 with Stereo effects loop & DI’s
Output stage MOSFET with Dynamic CorrectionTM
Output Power 2 x 100 Watts RMS
Output Impedance 2 x 8Ω
Speaker Configuration 8 x 5”
Dimensions W430mm / H370mm / D305mm
Weight 28Kg
13
SAFETY INSTRUCTIONS
Warning
For continued protection against the risk of fire, replace fuses only with fuses of the same type
and rating.
To reduce the risk of fire or electric shock, do not expose this equipment to rain or moisture.
In the event of a suspected malfunction, always refer this equipment to a qualified service
engineer.
This apparatus must be earthed. The wires in this mains are coloured in accordance with the
following code:-
Green& Yellow- Earth Blue- Neutral Brown- Live
As the colours of the wires in the mains lead of this appliance may not correspond with the
coloured markings identifying the terminals in your plug, proceed as follows:-
The wire which is coloured Green & Yellow must be connected to the terminal in the plug which
is marked with the letter E or by the earth symbol or coloured green or Green and Yellow.
The wire which is coloured Blue must be connected to the terminal which is marked with the
letter N or coloured Black.
The wire which is coloured Brown must be connected to the terminal which is marked with the
letter L or coloured Red.
If A 13 amp (BS1363) plug is used a 13 amp fuse must be fitted, or if any other type of plug is
used a 15 amp fuse must be fitted either in the plug or adaptor or at the distribution board.
EMC Warning
It is inherent in the design of a loudspeaker and in the design of guitar pickups that they should
emit or be affected by electro magnetic fields. Trace Elliot loudspeaker enclosures should not be
used less than 2 metres away from equipment which is likely to be affected by electro magnetic
interference.
Likewise, guitars fitted with electro magnetic pickups should not be used less than 2 metres away
from any source of electro magnetic emissions such as loudspeakers.
Emissions from loudspeakers are dependent on the frequency characteristic of the drive unit.
Levels were measured direct from the drivers of 30 dBuV.
These levels are reduced to a safe level at a distance of 1.27 metres from the drivers.
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