Trace Elliot Speed Twin C30

I love combo guitar amps,especially class "a".Other than Orange,this Trace amp makes you have to work to get a "bad" or un-musical tone.No amp is perfect for everyone,but this amp(with NOS Amperex el-84's)sounds like a huge,breathy,high-gain Vox.It probably has more bells and whistles than what I require,but it has the fundamentals firmly handled.I would be lying if I didn't say that I wish it were 40or50 watts,but it does serve as a governor for avoiding outrageous stage volume.Studio or live,I love it!The channel switching does have a second and a half delay, so I use the dirt with the master wide open and the gain at about 8:30 to 9 o' clock.I wire my guitars with 1MEG volume pots(sim.to a '72 tele wiring) and it works great to regulate the gain/tone of the amp quite well. I often use it to power a 4 by 12 cab for volume and tonal variety.Cool!

I use all kinds of guitars with this little bastard.Different p/u's and wirings,you name it.A lot of people I know "borrow" it for recordings.It can handle surf/country twang, to 335 buttery blues tones.Though,I must say I like it best for that Josh Homme(QOTSA) midrange roar.As I mentioned above, I use the dirty channel with the master volume cranked and gain at 8 to 9 o'clock.This seems to get that more "wide-open", less compressed sound with better dynamics.It responds the way a good class A amp should.Like all the Trace Elliot gear I own,(I worked at a shop that used to be a dealer) what you plug in is what you get.If it sounds bad,it very well could be time for a set up and/or p/up adj.Better tubes will be helpful.

My amp tech suggested I change out the power tubes every 6 months of playing.Since I've done this,it has been bullet-proof!It came with Sovtek's,so I use those for everyday playing.For recording,I throw in Mullard 12AX7's for the pre-amp and NOS Amperex EL-84's in the power set.I would be hesitant to take ANY class A amp on the road for an extended amount of time,but with a good supply of power tubes(Sovtek's are pretty reasonable,maybe J&J's) it's good to go.Class A amps usually require a bit more attention,so I knew maintenance would be vital.This sound at this price is well worth it.

GIBSON ABSOLUTELY SUCKS!!!!!! Like bands who get signed for sounding like "the next Nirvana" and then their records get absorbed into the catacombs of major label hell, I suspect Gibson absorbs companies for tax purposes,write-offs etc.,It's a shame that the acoustic amplifier pioneers,BASS AMP GODS!!!, and tube amp wizards at Trace had to deal with Henry and co.The prices were almost doubled and finding products or even dealers was a nightmare after Gibson took over.One can only imagine how hard it was to get warranty help after this.Try British Audio Products.com(?)I think that's Shane Radke and co. They helped tremendously with my touring rigs and artist deal.I'm lucky to know a magnificent amp tech,so I have him do the major stuff.The C30 is self-biasing,so keep up on the power tubes is pretty easy with a little observation.

I've been a pro since 15, so most things died along the way...20 years later, I have TONS of Trace Elliot bass gear(I'm an absolutely vicious bass amp killer,and the Trace Elliot stuff has delivered 150% for over ten years of abuse,KUDOS!!!!!!)I thought it was great that you could get real, musical-sounding, class A guitar amps without having to spend a fortune.The Trace Elliot Vellocette 12R is a masterpiece!!!The C 30 is an awesome amp.It might take a minute to find the right tubes or speaker for the music you play, but I would suggest this amp to anyone who wants a very flexible,musical combo.Unfortunately,you can only find them used.I've had two, and the one I own now is a better amp than the previous one.I wish I would've kept the other for stereo use!!!

two channels -- separate eq for both -- second channel also has boost that is accessible on fron or with foot switch.

First, I've been playing for 20 years. I play a warmoth start with duncan classics and a 59 in the bridge, and a les paul with a duncan 59 and JB. I also have a jubilee 50 watt head.

I decided that I wanted to get a good class A amp, and was set on getting a Mesa Boogie studio 22. Someone told me about this amp and I'm glad they did,

Clean is very good -- second channel has tons of great class A amp gain that you can pour -- from a subtle crunch to a volcano. Then there is an overdrive to this channel that boosts it for solos to the right volume with loads of sustain and roar.

I can't belive how good this amp is and how I never heard about it. Probably why Trace Elliot was bought by Gibson - poor marketing. They don't make thee any more -- get one quick!

no problems yet -- if there were, I'd live with it becasue it sounds so good

Lie I said, an awesome amp that works on a ton of different musical styles.

Lots of features with pull boost options

Big fat clean channel with more bass than I've ever heard from any amp on tap. Anything over bass at halfway shakes ornaments off the window ledges at speaking volume! The pull bright switch gives the clean a shimmering Fender type tone but the character is a little different. A very polished sounding clean channel.

The gain channel has two voicings: a more midrangy Marshall tone (and the when you pull the gain pull boost switch) the amp turns into a modern Soldano sound!

The Trace Elliot amps are in a different league from the Peavey Classic 30's which also go for ?300 second hand. The voicing I'd describe as 'high class' American even though its a UK company. These amps were very expensive when they were being produced (around ?800 mark) but now they have been bought out by Gibson you can pick them up at bargain basement prices of around ?300 in the UK.

I phoned Gibson looking for information on the amp and they were very helpful and sent me all the documentation they had on file.

I've owned Laney TT, Marshall DSL50, Peavey Duel, Laney LC and lots of solidstate and modellers. Nothing comes close the the valve sound. The Trace Elliot is unique really, with the powerful eq and lots of bass on tap the clean is very versatile, coupled with the high gain lead channel it covers everything I need without pedals (my Marshall needed a good OD pedal to make it sing).
One last thing. Like all valve amps, it needs a new set of valves to get the most out of it. Stock make it sound like closer to a solidstate as none of the fidelity or feel comes through with cheapo chinese valves.

Pretty versatile, not tons of features like a mesa mark IV but definitely more than your average fender. Plenty of power, good effects loop and reverb was nice as well.

The clean is very nice on the speedtwin but not much character like you would find on a fender or vox. It sounds great with some delay and any other effects though. The distortion was a bit fuzzy for my taste although tons of gain on tap. I think this amp sounded a lot like the fender tonemaster I had for a while and like everyone says, tone is subjective.

Didn't own it long enough to see how reliable it was.

I've been playing for 4 years and have gone through over 40 amps for one reason or another. The speedtwin wasn't quite what I was looking for. I stopped paying as much attention to the reviews on HC because everyone has different tastes. My favorite amps I owned were a Soldano HR 50+XL combo, Egnater TOL 50(both combo and head were excellent), a gibson goldtone GA30RVS, Fender Rivera era 412 concert amp, Marshall '78 JMP head, H&K Puretone combo, and a couple Traynor tube heads. I wouldn't buy the speedtwin again but I might chance the 50 watt class A/B model.

This is ANOTHER review to provide facts: Trace Elliot is gone because Gibson bought them out -- they did not "go out of business." I've had the pleasure of dealing with Gibson on the failure of my Velocette -- they fixed it for free, no questions asked, and did it while I waited briefly at their factory in Elgin, Illinois.

As for 'ruining' Gibson's Gold-Tone amps -- get a clue dude! The Gold Tone amp IS the Trace Elliot Velocette... THE reason Gibson bought Trace Elliot in the first place.

As for the Speed Twin, I have never owned one, but I used one that belonged to a colleague of mine. The class a amps are definitely a certain sound and this one was no exception. My only concern with this amp was its reliability seemed to be questionable -- but that is a combination of hear-say and experience with this particular amp. It did sound great, but seemed to be in the shop alot. From other reviews here, this doesn't appear to be such a common problem, but is the truth about my own experience with this amp.

Would I buy one? If the price were right, of course. I've been really happy with my Velocette!

Oh yeah, I've been playing for a long, long time, have a music degree with high honors, have major studio credentials, and have performed as a band member with several national acts.

This is not a review, but something that needs to be said before the review below puts anyone off to these amps. While he may well have dis-liked the sound, his observations concerning the solid state devices are way off base. Yes, there ARE tons of solid state components in these amps. But what this guy below neglected to mention, probably due to a major lack of electronic knowledge is that most if not all of it is nothing more than the midi switching circuit. All it is is the solid state components used for the midi switching, and has little to no effect on the signal. It is NOT anything like having op-amps and such as in many modern marshalls. Even the Groove tubes trio, a boutique high end preamp has this.

Know what you are talking about before you go ruining things for others who might otherwise buy and be very happy with this amp ! Also consider that his idea of tone is obviouly far different than most since the reviews on all the trace tube amps are more positive than about 95% of the amps reviewed here.

the features are as the review below. they claim "point to point construction", and deliver a bunch of circuit boards with transistors on them. obviously the reviewer below is trying to pump the bull up to sell his amp. 2 channels and a handful of transistors to make it happen. all tube, noahhhh way. the reverb also is solid state high tech crap.

several sounds with the common denominator of lacking rich warm analog tone. this amp in a modern amp designed by an accountant with compromise as the main ingredient. i would take 1 great sound over 4 mediocre sounds this amp produces. long on promises and short on delivery. no ac 30 sounds in this silicon stud. no marshall sounds either, sounds like a copy of a copy. trace elliot never even got close to good tube tone.

reliability and an amp stuffed with "point to point circuit boards" does'nt go together. when a circuit board burns up you're s.o.l. since the company is out of business. i tried this amp out from a local store for the weekend and beat on it, opened it up and was upset to see what they claim "point to point wiring like the old classics" and see an amp stuffed full of circuit boards so i returned this poser monday.

dead in the water

another piss poor creation. i don't wonder why they're out of business. just remember a few of their top designers went over here to gibson and have fxxked up the goldtone amps as well. before considering buying open the amp up and look at the cheap construction and maybe you'll think twice. this amp makes my ptp marshall look like a million bucks. the holy grail of tone is'nt in silicone valley. this speed twin class a toy is in the minor league of tone and compares to laneys, new channel switching marshalls and other modern poop tone high tech amps appealing to the player that needs a crutch. overall rating is a -999 since the manufacturer lied their english ass off and called this shit point to point.

This amp was made in 1998 and is prototype #1. At least according to it's s/n. This amp is extremely versatile it has 2 channels; clean and High gain. the Gain channel actually has two stages; the first you can get great saturation, the second stage is just all out MB triple rectifier type gain. It is just that the TE sounds better than the Boogie(My opinion only). The Speed Twin 30 has a fully controlable effects loop (via footswitch), channel switching (again via foot switch) as well as a lead channel gain switching. this is one of the most versatile amps I have ever seen, no shortage of features. It has independant volume for the clean channel, a level control for the lead channel and an overall master volume control. this amp also has a very lush sounding reverb as well (I didn't want to leave that out). This amp is chock full of power at 30 watts. It is loud, but not brutal like my MB 50 Caliber+.

This amplifier uses 4 12ax7 tubes in the preamp and 4 el-84's in the power section. Preamp tubes are sheilded and all have easy accessability for replacement. A Celestion speaker is installed in my amp however, I don't know if that is original since I am not the original owner.

I mainly use a '68 Les Paul Flametop reissue. It has the the Gibson humbuckers installed in it. Also used is a '84 Hamer Sunburst with a Duncan SH-4 on the bridge and original DiMarzio on the neck, A '96 Carvin DC-135 (The best single coil clean machine I have ever heard), an '83 Carvin DC-160 and a new Mexican Stratocaster. This amp can do just about any music style; clean, 70's rock or had bangin' all out metal. Generally the amp is not noisey unless you have the lead channel second stage gain cranked up. With regard to the clean channel I can get it to break up mildly if I crank it's volume all the way up. Unless I do that, It just get's warmer. For a bluesy type sound, the first stage lead channel with the gain turned down does the blues thing very nicely. Then if you want high gain just shift gears with the foot switch.

This amp loves those Gibson pick-ups, they sound so sweet through it that it's almost unreal. The Hamer sounds great through it as well, as do the Carvins. It just loves that Gibson though. As for the Strat, the pick-ups in it just don't have any life or color to them. Not that they sound bad, the S-60 pickups on the Carvin tear them to pieces ( S-60's almost sound like a P-90).

Overall I give this amp a 10 for sound quality, not because it's mine, it is mine because it sounds that good. This the amp to buy if you want class A Matchless, Bad Cat sound without spending a boat load of money.

No problems yet. It does get very warm at times. I don't really like that it has circuit board mounted componants however, that improves reliability and lowers cost. Quality of the board assembly looks good, not as good as a Boogie though. Cabinet seems well made, covering looks cheap. I'm taking a little off for the high temp this thing runs at as I believe it is a future problem.

Gibson owns the rights to Trace Elliot, so I assume assistance from them or product support will be shall we say poor.

I probably paid more for this than most used versions, but someone on ebay kept outbidding me. Even at the price I paid I feel the amp is an outstanding value and would recommend it to anyone.

two channels with a boost switch on the dirty channel, almost like three channels, but the great
thing is the level control on the dirty channel-there is an overall master volume, a volume control
for the clean channel, gain control for the dirty channel, but the dirty channel has a seperate level control,
for balancing the volumes of the two channels-awesome! nice reverb, i never use the effects loop, as i don't
need effects with this beautiful amp, but it is highly functional, and switchable with its own input and output level
controls-great feature of this amp is that all knobs are useful and linear over their entire ranges!
just the right amount of cut for a live rockin' combo, and believe me, i wanna be HEARD!

settled on a new american series telecaster, marriage made in heaven for me!
my style is avant blues with a space jazz/avant garde bent-some people call it electric folk,
go figger! i love richard thompson's music. my 10 rating is based not only on my own reactions,
every time i play out with this, other players are peering around, asking what the hell is going on
with that unassuming little box. distortion goes way high, the amp is totally dynamic, and is the
LEADER as far as liquid sustain is concerned. clean channel is warm as toast, the louder it gets,
the warmer it is. warm and clean, perfect for what i want from the tele! this amp is never thin!

always worked, i wish the pots/sockets weren't mounted to the boards, but then i wish i still owned my '63 peugeot 404!

trace is gone now, but i had the pleasure of dialoging with the circuit designer of this amp series, paul stevens.
this man ROCKS!

playing forever, own a vibrolux, another speed twin, a beautiful old ampeg gemini, a velocette,
have owned many more, marshalls, sovtek, and have played through LOTS of stuff, matchless, dr.z
vibro king, dual professional, etc. giving a 9, because i can't quantify the reliability. i have
had no problems, but this may or may not be repairable in the future-

First of all, I have to point out that it has been a terrible pain in the ass trying to find any usable info on the C30...The fact that Trace 's been sold to CMI (Gibson) hasn't done anything good regarding the popularity of Trace guitar amps, or the marketing of the company... Anyway.
The C30 I managed to find down here in Greece, must be 3-4 yrs old, but still unplayed due to the fact that the local dealer tried to avoid any enthusiasts by answering to the fatal question about the price ! Yes it was expensive, but now the dealer clears up the stock and reduces the price down to the 65% of the original, so it's a bargain, isn't it?
Features on the once little British triumph (Guitarist mag, 1998)are really sensible, well thought of, and seem sturdly executed, and of course are totally described in the reviews below. Summing up I could say that there is a strong American flavour in the inspiration behind the C30. Not quite boogie-like, but somewhere in the middle between the Laney LC30, and the Boogie DC-3 (sadly long gone).
And something in its appearance makes you feel safe: you got the two independable channels, the pull switches, the cosy green light (!), the sturdy leather handle, the well protected chassis, etc, etc... I think it deserves a clear 9 here, which is very close to perfect, and it does not quite get there simply because the covering vinyl seems cheap, and because it could've been provided with a seperate stand by switch as opposite to the 'I-do-it-all-by-myself' single, 3-way switch, wich unfortunately during some post show anxiety could easily reduce the power tube life by a generous 20%... Check it out and you'll find out what I mean.
But let's get to the point !

I tested it with two guitars. First it was the Musicman Petrucci 6 string that the dealer provided, and the next day it was my Brian Moore C-55 with mahogany/maple/rosewood woods, and Duncan 'buckers.
Summing up the impressions, I'd say that the amp is a marvel regarding the clean channel, it's really usable in it's drives, and it screams as it should in it's high gain moments.
The clean channel of the C30 is as close as I had to come to the true reproduction of the acoustic voice of my Moore. One of the guys below is damn right: it 'feels' as if it's got some built-in chorus, the sound is that full, yet crisp and transparent with a Vox-meets-Fender character that makes you want to play and play and play !
I personally admit that I've found a near perfect match for my Moore, so I'm happy and I won't hide it !
As for the lead (drive) channel, it sort of crosses a typical Boogie in its detailed and slightly overvoiced midrange, and a Marshall JCM in its heavy low-end. It is not Soldano-ish, no, because you will not conrol so easily the drive, I'd say it's more brutal than the high-end American boys, a close relative to the Laneys if you like..
As for the high gain I believe that you will have a problem with a cheap guitar, because the amp likes to point up the details of your woods and pickups, so you have to approach it keeping in mind that it will show a clearer side of your instrument AND you. You see, it retains a lot of the details of your primary sound and playing, and like some old Marshalls, it will easily reproduce the nuances in your playing, something that it's not always the case with modern amps - but that's a plus. Also, it clears up nicely as you rool down the volume on the guitar making itself pretty versatile as a lot of players these days tend to use more and more the volume pot of the guitar to control certain parts through a song.
Here it catches a 10 for the clean channel, an 8 for the soft drive and a 9 for the high gain drtives - fair I think.

Well, I was not happy with the crappy vinyl cover which is clearly in a divorcing situation with the plywood at the corners, but it's sounds keep a balance if you pass that by...
As for the true reliability, I couldn't tell cause I have not brought it home yet.. Yes I will in one of the next few days, but sincerelly - no comments here.

I happen to think that what Gibson touches the last decades, turns slowly into dust (remember Kramer, Steinberger, Tobias... where are they now ??) but I sincerelly hope that this will not be the case with these Trace amps (and by the way, where is that god of an amp, the mighty Trace Trident now ?) but history proves otherwise... so what can you say about any support on the products ?
Everyday I hear and read stories of their horrible customer support, but I guess that's the way for every Giant - can't see the ants, can he?

Have used lots of gear, spent way too much money on good and bad instruments, but I believe that this Trace will prove itself a good purchase. It has a good range of sounds, it runs in the pick-friendly Class-A, it's made with very good components being used and above all it has a character that I like, along with bags of versatility which suits me fine !!
If you own a decent guitar and you will not buy an amp because of the luxurious ads, go find one of these - quite close to the holy grail on a budget !

This amp was made in 1998, or so the warrenty information has stated it was inspected. Amp is versatile enough for all styles i play (blues, rock, metal, punk, ska). 2 channels (Clean and distorted) Effects loop included, but no headphone jack. (With a sweet Celestian (12") speaker, who cares?!?!?)
This is a quality tube amp, hand made in Britain.

I play this amp with a Fender Deluxe Strat, using all pickup combinations. All sound good. Never had any need to turn past 1/2 volume, as that is sufficient for any jamming situation. This helps by making sure the speaker stays tight for good quality.

Purshased in may 200, this amp hsa been serviced twice. Once for fuses that kept blowing, another time for a mysterious crakling sound that was fixed with new tubes. Other than that, it hasn't been any real problem.

Musicstop, the store that sold it to me, provided quick (2 weeks tops) and painless (warrenty) servicing. Never had to deal with Trace myself....

I love this amp. Please feel free to contact me for more info if interested in buying a Trace Elliott amp.

This is a new British-built 30W class A all valve combo, with a single 12" Celestion speaker in a ?" plywood cabinet. Small, compact, and a manageable 23kg. There are four EL84 output valves and five 12AX7 pre-amp valves. It has two/three channels. Channel 1 is a clean channel, volume, bass, middle and treble controls, with a push-pull switch on the treble control for extra zing. Channel 2, accessed via a switch on the front panel, has gain, bass, middle, treble and level controls with a push-pull switch on the treble control - to allow control over the high mids instead - and a switch which alters the pre-amp style to boost the gain and volume, almost a third channel. The master section has master volume and reverb controls, and a switch to activate the effects loop. The Accutronics three-spring reverb tray is located in the floor of the cabinet. The rear panel contains the jack sockets for the effects loop which has send and return level controls, and which can be switched to operate in series or parallel mode. There are three extension speaker sockets, one 16 ohm (to which the Celestion speaker is connected) and two 8 ohm in parallel. Footswitch sockets allow control of the switching via either a two-way footswitch which is supplied (to select channel one or channel two, and to select the pre-amp style on channel two) or via an optional five-way footswitch (to switch channels, pre-amp style, reverb on/off, effects loop on/off, and mute). Not much missing then. The larger models in the Speed Twin range have two additional controls in the master section: a presence control; and a second master volume control - with the five-way switch the mute function switches between two preset master volumes instead. Nice. But the design of the C30's power amp is rather different: it's the only Class A amp in the range. I haven't really missed the two additional controls.

This is what really counts when you're buying an amp, and this little cutie delivers! I use a Fender USA Standard Strat (1990-ish) for single coil sounds and a fairly new Fender Japan '72 Telecaster Thinline Reissue(twin Fender humbuckers) for fatter tones, playing mostly pop/rock/indie/funk covers. Both guitars sound great through this amp. The clean channel is crisp yet warm and full, and if you turn up the channel volume and reduce the master you get a lovely vintage-style overdrive to add some edge to your chords. Channel two is wonderfully crunchy in a smooth sort of way, particularly on the lower gain settings where chords are clearly defined and there is a total absence of mush. Really a classic sound, and one which my previous amp, a Fender The Twin red knob 1991 model, failed to deliver (plus it was too big, too loud for home use, and too heavy to shift around comfortably at 36kg). Switch in the extra drive and you have an excellent lead tone - thick, smooth, fluid, compressed etc. In fact, it's difficult to get a bad tone out of this amp! Another plus: all the controls operate smoothly and effectively over their whole range - a rare thing in my experience - so you can really set the exact tones and levels you require without the delicate balancing acts often required (i.e. volume controls which go from full off at 0 to full on at 1, and don't do much subsequently).

Only had it a few months, but no problems so far, and the quality build suggests there won't be any. It feels reassuringly solid, and seems very tidily constructed.

No contact with Trace Elliot so far, but they appear to have a good reputation here in the UK. They were recently bought by Gibson; let's hope that's a good thing.

This is easily the best amp I've owned, and, within the price range I'm working in, quite easily the best I've heard (I compared it with Peavey's Delta Blues, a number of Laney tube amps, Fender Hot Rod 112). In the past I used a selection of pedals to augment the excellent clean tone from the Fender, including a Boogie V-Twin valve preamp for the dirty tones. With the Speed Twin I just plug in the guitar and get going. The quality and range of the tones available makes all the pedals seem a bit superfluous. You hardly need chorus when the clean tones already have that warm valvey shimmer. I occasionally use the V-Twin for hotter crunch tones, and a dash of delay here and there for those U2 moments, but 95% of the time it's just me, a guitar and the Speed Twin. I had a few reservations about the 30W rating, whether that would be enough to keep up with a live drummer in rehearsals (I always mic up to the PA for gigs), but 30W of class A tube power goes a long way. It's plenty loud enough, and the sound quality when those valves are really working hard is just magical. Seriously, if you love valves - but don't have an unlimited budget for some over-priced boutique amp - you really need to check out this amp. And no, I don't work for Trace Elliot.

THIS IS A GREAT 1X12 COMBO,4 EL84 RUNNING IN CLASS A,5 12AX7 PREAMP TUBES,TUBE SPRIN REVERB.THE AMP HAS TWO CHANNELS AND THE DRIVE CHANEL CAN FURTHERMORE SWITCH BETWEEN VINTAGE AND MODERN OD MODES. SERIES AND PARALLEL EFFECT LOOPS,CELESTION SPEAKER. AMAZING FEATURES FOR THE MONEY,NOTHING COMPARES TO IT!

THIS AMP IS A REAL GIANT KILLER!I HAVE BEEN LOOKING FOR A LONG TIME FOR A REASONABLY PRICED,VERSATILE AND LIGHT AMP THAT I COULD USE IN GIGS AND RECORDING.THE AMP HAD TO HAVE THE SOUND THAT I AM USED TO (I ALREADY OWN A 68 FENDER TWIN.A 63 FENDER SUPER AND A GREAT PEAVEY CLASSIC 50) WITHOUT THE WEIGHT.I A/B/D THIS AMP WITH EVERY MESA BOOGIE,RIVERA,VHT AND FENDER AMP (MOST OF THESE AMPS COST NEARLY TWICE) AND IT ALWAYS CAME OUT A WINNER!THE CLEAN SOUNDS ARE VERY FENDER LIKE BUT WITH A NICE ?VOXINES?,THE OD CHANNELS KICKS ASS AND THE REVERB SOUNDS AS GOOD AS THE HOLY GRAIL (MY 68 TWIN). I THINK THAT THIS AMP HAS THE BEST SOUND IN ITS CATEGORY.

VERY WELL BUILT,I ONLY WISH IT HAD THE METAL KNOBS OF THE COSTLIER TRACE ELLIOT MODELS BUT I GUESS I AM ASKING TO MUCH AT THIS ALREADY INCREDIBLE PRICE!!

I HAVE NO IDEA THIS IS THE FIRST T.E.PRODUCT I BUY.

WHAT ARE YOU WAITING FOR.DO YOURSELF A BIG FAVOUR AND BUY THIS AMP!!

This amp is a 1x12 Celestion equipped valve 30 watt combo. It uses 4 EL84 output valves running in class A and five 12AX7's in the pre-amp. It has two chanels the first channel is primarily a clean channel and has volume bass mid and treble with a pull bright switch on the treble control. The second channel has gain bass mid treble and level controls with a pull treble shift on the treble control and a switchable pre-amp style push switch which puts an extra gain stage in the circuit. there is a master volume and reverb control in the master section. The rear panel contains an effects loop which is switchable series or parallel with level controls for both send and return. This loop can be switched on or off from the front panel and two extension speaker sockets. The amp is very sturdily constructed using 3/4" plywood and the whole amp looks great. It comes supplied with a two way footswitch which switches the channel and the pre-amp style on channel two but an optional 5 way footswitch is available to switch channels, reverb, pre-amp style, effects loop, and mute.

I play a PRS standard 22 with no effects and the range of tones I can get is superb. The clean channel sounds similar to a blackface Fender but can be made to overdrive in a vintage style with the volume high and master set low, it has a lovely deep sound which works well with both the full humbuckers of the PRS or the coil tapped sounds. The overdrive channel give a wide range of sounds that are very smooth but always responsive the pick attack with individual notes standing out well within chords even at very high gain settings. The switchable pre-amp style is almost like a third channel.

Not had the amp long enough but the quality of construction indicates that it should be reliable. The transformers are very large for a 30 watt amp.

Have recieved responces from Trace Elliot both by email and fax and they have always been helpfull.

The best amp I have owned and very loud for its rated output. It looks superb. I tried as many amps as I could before setlling on this and it was streets ahead of the competition in all respects