Trace Elliot TA100R

My TA100R was made in 1993, bought in 1996 and I have used it ever sense for keen-amateur 'singer-songwriter' style of performing, or as a guitar duo. This amp, as have many that came after the Trace Elliot ground-breaking design, is incredibly versatile being more like a mini-PA than a mere amp.

It has two channels, with channel 1 having an active and passive 1/4" input jacks, and channel 2 having both an XLR-in for mikes and a TSR 1/4" input. This is unexpectedly useful, as it is quite possible to have two guitars plugged into channel 1 and two mikes both balanced low-impedance into channel 2 (one with a TSR jack) as I often do when playing as a duo. Phantom power is switchable on this channel, and I normally do use condensor mikes. This arrangement requires some careful setting of levels but it works really well. The new model of this amp released last year unfortunately does not give this flexibility with single inputs only on each channel.

As long as you set your levels correctly, this solid-state amp is clean all the way up to full volume.

The Alesis reverb and delay are sufficiently good although the settings are the same for each channel

I'm always as much interested in the back of an amp as the front, and the TA100R didn't let you down. It has a jack to switch out effects, a so-called 'link' 1/4" jack that allows you to intelligently link two Trace amps together, but it functions just as well as a conventional line-out to another amp. There are two XLR DI outs (pre and post- EQ/effects) so you can use the Trace as a stage monitor and send a balanced mike-level input to a mixer for front of house, it works well. There's also a speaker 'phase' switch which is useful for feedback reduction or to give your sound greater 'cut' to get through the mix. There is also effect send and return although I have never used these preferring to add effects at the front end.

The amp comes with a removable leather strap handle, which I like because it leaves a clean flat surface on top to put other equipment or even a glass of beer if you are prepared to risk it.

Although heavy for it's small size, this amp is portable and I use it anywhere I can find a power outlet - street busking, pubs, cafes and so on, it's so much better than lugging and setting up a mixer, bins, stands and all the cables. If there happens to be a PA available, I can just send a fully-mixed sound to one mixer channel and I'm done.

The sound quality is clean and clear although EQ will always be required to get a satisfactory 'acoustic' sound. Two base & treble roll-off knobs as well as a five-band graphic take care of that. There is a 'shape' pull-switch which instantly gives you the classic 'smile' EQ of raised bass and treble with cut mids. If you do all your EQ at the guitar and footpedal level, then you can just set everything on the amp flat or just have some slight variations to finalise your sound depending on the room your are in.

This amp looks British and it is - shaped like a Marshall quad box with back-slanted top and complete with four Celestion speakers (albeit 5"). It is the toughest-built acoustic amp around with some complaining about the weight but not me it is so solid and provides an excellent structure for those Celestions to resonate against. This amp has never let me down although one day I guess an electrical component will burn out. Once it is set up you just know that it is going to see you through the gig without complaint.

When Trace Elliot sold out to Gibson USA the brand seemed to go to ground for quite a few years. It was hard to get email responses and the future of Trace Elliot looked grim, from the outside at least. However the company appears to have been revitalised, is making gear in England, and the new 200W upgrade to this classic amp looks very exciting indeed (although I won't be getting one because I'm very happy with what I've got). That's good because it means that spare parts and technical know-how are likely to remain available for earlier models, at least I hope.

I usually tell anyone that will listen that the TA100R is one of the best things that I have bought - ever. If lost or stolen I would try and source a second-hand one, or even consider upgrading to the latest model, although I would miss the reduced inputs.
There's now a flood of amps for acoustic guitar at all price points. The TA100R and it's new equivalent are at the high-end of the market but you do get what you pay for. I think that they got the design so right from the get-go that I will be happy with this amp for years to come.

Features are perfect. Everything an acoustic amp needs is available: notch, equazizer piezo and high input, and alessis reverb (16 peffects). You can also connect a microphone to the amp and sing a long. It is a pitty that you must use the same reverb as on the guitar sound. You can easily connect the Trace to the PA. Sounds perfect too.

I Play the Trace with an Takamine 20 ENC. Sounds SUPER. I never heard better acoustic sounds of any other amp!

I Play the thing now for 8 years on and off stage. Never had ONE problem.

Never dealt with te customer support

It is just a super acoustic AMP. A little bit heavy. So once I replaced it for an acoustic effect pedal (a zoom A2). Nice pedal, but it can not compare to the TRACE

This amp is loaded with special features, but I don't really use them. I keep the sound levels in the "natural" position as specified by the manual, and I'm quite satisfied with this. The amp is definitely loud, it can be quite effective if properly used in a live situation.

I use an under saddle Fishman preamp in my Taylor. In combination with a Tech 21 Acoustic DI, the sound I get out of the TA 100R is incredible. The direct box eliminated the distortion, noise and feedback, making the sound a lot warmer, almost like a tube amp. I've played the amp pretty loud, and it does not distort.

Hasn't broken down yet. I've used it quite frequently in the two and a half years I've owned it, and I bought it used. Keep the dust cover on it.

I believe Gibson handles Trace Elliot these days, when I called their customer service center in Montana, the service was decent. Haven't had to order any parts.

This amp is pretty damn cool. It looks good and it cranks. It's perfect for a solo performer such as myself. I play and sing through it in live situations. Other musicians present always walk up afterward to ask about it and marvel at it. I'd be upset if I lost it. One of the reviewers on this website mentions the knob controls are vulnerable to break at the stem - he's right. Before I move it into the car or around the house, I always push them back in so they won't snap in case the front panel sideswipes the doorjamb or something like that. I also would like to see a better handle on top, and an open groove in the dust cover for the handle to come through. The amp is also on the heavy side. Basically, when I set it up and play (and set up is very easy), I'm happy that I've got one.

I feel this amp has a nice sound but the Alesis effect give more effects than are practical. The slapback and echo setting are pretty useless. The reverb sounds okay and the eq setting are adequate.

I use this mostly for classical guitar and some solo folk guitar playing with vocals. It takes some work to get a good balance between guitar and vocals. I use a takamine 132 classical.

This amp has serious problems when it gets cold!!! For the last year, when this amp gets cold it takes about 20 minutes for the Alesis effects to come back to life. Once it does there is a bunch of noise that it makes and it sounds awful. I've had it repaired once and the problem came back. I am very disappointed with this.

Very bad.....my problems started a few months after warranty and it it very unreliable.

I would not recommend this amp to anyone. Check out the Fender acoustic amps. At least they will fix their product when it has problems.

I don't know the year it was made i just got it a week ago used, this amp is fine since i do fingerpickin, i'm not famaliar with the channels, loops, effects, but i plugged it in the store and i liked how it made my playing sound nice with the reverb levels. I'm using this amp as i write this now we are recording on it.

I'm using a taylor 614 cherry sunburst with the new expression system, it suits my style, I play alot like my late friend Mike Hedges, but it does sound like an old TV set when you plug it in and turn up the volume, it's not clean at a high setting but the distortion is overcome by my hammering.

I would depend on it considering I've had this amp for 2 weeks, I haven't had it long enough to see if it breaks down.

I've been playing since I was 5 started out on a Uke it was small enough to fit in my little arms..but in my 20's i had a twin fender reverb and a 58 Les Paul but unfortunately I traded them both in DC when i lived there in the early 80's. I think Trace is the best to go on in amplification, Adrian Legg influenced me to get one of these since he plays one on stage

Solid state. Early nineties I think. Features enough (see other reviews). Though many acoustic players just like clean sounds: try adding the reverb-facility. In my ears the sounds improve a lot with the reverb. Lots of delay-possibilities (why?). I use it for small gigs and as a monitor when there is a good PA at larger places.

There is some noise (hey: it's not a tube amp). When the volume is cranked up there's almost no distortion. Best fit for acoustic fingerstyle music. The sounds stays very clean when my Martin D1/B Band is hooked up. My Seagull/LR Baggs-combination sounds like it is supposed to sound.

Never had problems.

I'm waiting for a year now to get my footswitch.

I play for about 25 years. My gear: check out http://www.xs4all.nl/~ervanel/
So I owe a lot of guitars and amps (acoustic and electric). Got rid of my Marshall AS80R. It was even beaten by my Laney EA65 and my Laney LA30C (very good amps for the price). I would buy it again if it was lost or stolen. In this price range there is no better amp than this one. If you don't have a lot of money: always buy a Laney.

Four preset delay times. 12 fixed reverb settings. Piezo input. 5 band Equalizer. Sweepable notch filter. Phase switch.

The Trace TR100R has a thin narrow tone similar to a cheap TV. The bass response is poor and the amp sounds lifeless because its four small 5-inch speakers can?t accurately reproduce the sound of an acoustic guitar. I get dramatically better performance from a Fender Twin Reverb. This amp is rather noisy and despite its 100 watt RMS rating, what really comes out of the speakers not adequate for many live performances. There is no ability to hook up an external speaker cabinet.

The piezo input is designed to directly accept high impedence piezo transducers. Unfortunately, it is noisy and makes my Dean Markley pickup sound bad.

The sweepable notch is adequate and works a bit to reduce feedback under some circumstances.

The biggest problem with the TR100R is its sound. To be candied, it is awful. This is the worst sounding acoustic amp that I ever tried. No matter how the controls are set, there is no way to fix this and make it sound good. It does not reproduce my guitars dynamics and makes it sound flat and lifeless. It is surprising that any company would actually put something like this onto the market and harder to believe that any informed consumer with normal hearing would ever purchase a product sounding this bad. This is an amplifier for people who either have nothing else to play through or for uninformed amateurs who don?t know any better. It is an overpriced box of parts that offers inferior acoustic performance when compared to almost anything else on the market. Reverb, delay, notch filters and equalizers can do little to enhance its listenability if the basic product sounds as awful as the TR100R.

I bought this because the local dealer told me I could try it for 30 days with a no questions asked return policy. You can be sure that I took it back for my refund. Save your money and buy something else.

I bought my TA100R shortly after they came out, having tried every other acoustic amp I could lay hands on. Please see other reviews for features. The notch filter is indispensable for cutting feedback.

The instrument I use is a German violin fitted with a Fishman pick-up and going via a Fishman pre-amp / eq. to the amp. The amp was very quiet in the early days but gradually became noisier. An overhaul by a local electronic engineer has restored its quietness and it performs well. Most often at gigs I use the amp as an adjustable monitor, taking a lead from the post-effect d.i. channel to the p.a. which means I can adjust tones at the amp on stage and set monitor volume, unless of course there is a sound man on the desk in which case I leave tone to his discretion but am still free to set monitor volume for myself. Occasionally use it with a Fender telecaster where it is capable of producing clean, classic sounds. The phantom power channel is good for vocals, and the guitar / vocal thing can be handled pretty well by this amp.

This amp has never broken down and I don't expect it to. BUT the switches are vulnerable to damage because they are not recessed deeply enough. It is easy to snap a switch stem whilst going through doorways or when people are moving gear around and I have had to replace one expensive pot. It is worthwhile rigging up some sort of sturdy metal shield to protect the pots ~ fix it to the amp casing and do it before you break anything.

No comment to make

Very good acoustic amp and probably the best of its generation for fiddle music. Don't know what current competitors are like. Needs more protection for switches. Would prefer a proper carrying handle rather than the soft strap. Would like two notch filters.

This amp is a '96. It is an extremely versatile acoustic amp, the reverb settings are absolutely incredible and quite versatile, the digital delay is alot of fun to play with and sounds great, rate is preset but there is adjustability in speed. The features on this amp in my opinion make it extremely difficult for any other amp in its class to compete with it, most likely the best amp in its class bar none, pure quality of craftsmanship all around, no way you can be dissapointed. I have been playing for over 20 years now, best acousitic amp I have ever owned, and I have owned several other models over the years.

I use a piezo pickup and this amp sounds absolutely fantastic, when searching for an amp I think we all look for that perfect sound through an amp, this is it, no question about it, pure acoustic tone, no manufactured sound (fender, swr). Incredible reverb, and extremely LOUD, did I mention how loud this amp is ? Also very adjustable to suit any style or player. No distortion whatsoever, notch filter has plenty of adjustability to do the job combined with phase in/out.

Built like a tank with the quality of a Ferrari. The amp is as durable and reliable as they come. What more can I say, I couldn't be more please with the amp.

Now that they are owned by Gibson you can be sure to get quality support, Gibson is well aware they have acquired "the top of the line acoustic amps" in Trace Elliot, and they are there to back the product up for you, very reliable and friendly customer support, I have spoke with them a few times, great to deal with.

I just can't say enough about the incredible quality of this amp, if you have a chance to buy one, even if used, buy it, they are simply the very best amps on the market, the ones that are pre-gibson and made in England are still the same amps....very few MINOR changes,PURE QUALITY, no way you can be dissapointed in this amp, no matter what style you play, no matter what guirar or pickup you play through, if you find one that is in great shape for sale, buy it fast because it wont be on the market long, musicians who are looking for quality sound, know they can find it in Trace Elliot amps, I did, just ask around for yourself.

I bought the TA100R about 2 years ago. I play in an acoustic blues/rock duo and the aim was to use it in small bars, pubs etc. The amp produces a great sound, in my opinion the best for an acoustic amp. Two channels, one with phantom power for a mike, is great for a solo performer as well. The reverb and delay effects are good, but control is limited since the levels are fixed. Not useful for example if you want to add delay to the guitar and reverb to the voice.
So, do I use the amp? The answer is no not really. Whilst loud for its size, there is no comparison with the full sound you get from a good PA system. I've tried hooking it up to the PA, but there is no real benefit. My setup is now: Guitar --> tuner --> Boss AD3 Acoustic Processor --> split channel sending rhythm to PA and second lead to PA via a delay pedal. I don't use the reverb on the AD3, prefering to use the PA system. The benefits are that I can alter my lead sound using the delay pedal, there is a nice chorus pedal on the AD3 and a feedback control pedal. This produces a great sound with enough power to use in a live band. Pubs get incredibly noisy and often have strange acoustics due to size and shape. The PA works in these situations, a single trace elliot amp would just be drowned out. The trace is useful however as a monitor, and someone has already mentioned this. We use it purely as a monitor, sending a signal from the auxillary output of the PA to the input of the amp. This allows us to control the volume that gets sent to the trace separately from the master control. It is a great, albeit expensive monitor. It need to be tilted and raised off the ground to get the full benefit.

The sounds are fine, like I said probably the best sound you will get from an acoustic guitar amp. The delay and reverb are not flexible enough to be useful in a live situation. If you have a decent acoustic guitar then the sound is going to be just as good going direct to the PA via an acoustic stomp box such as the AD3.
Yes it is loud for an acoustic amp, for folk clubs maybe OK, but for pubs and bars where there is a lot of background noise it won't cut the mustard. The sound is good though so it gets an 8.

Never broken.

Had trouble getting a model overseas. I had to order it through a music shop. No problem if you live in the UK I guess.

I have been playing guitar for 20 years, acoustic and electric. I currently play in an acoustic blues duo and we recently spent some time on looking into getting the right sound with two acoustics and two mikes. I wouldn't replace it if stolen (but I'd be damn annoyed). A good PA system is essential, even for the solo performer in my opinion. I would prefer to see Trace Elliot bring out a decent acoustic preamp (like the BOSS AD3) which can be connected to a PA. I'm sure their expert knowledge could produce a great product.

I have played this Trace for about five years now.. I love it..It was cool when I got and still is.. I play a takemine with parametric eq and a Roland GR1 synth. I get a great sound from it and typically use it live as a monitor and feed the pre line to the house board. I enjoy the the onboard Reverb. I use the separate line ins for splitting the guitar and synth signal. I use the effects loop for a Boss 2X acoustic chorus and notch filter. Ive always wondered if it would be nice to be able to feed an additional cabinet i.e. a like 4 8" The "link" would be nice to try with TA100ext that was an extension cab they used to make but don't any more. i would like to try and find one.

I use the parametric built in pick uip in the Takemine. The Tak is natuaraly "thin" so I usually rool the top off and use the "enhance switch to brighten it up. The sound is awesome but it never sounds as good coming from the other monitor back from the house board. I been tempted to turn it around and let it project into the house. That is why I would like the extended cab to set one in front and one behind. I love the delay adn the EQ is very powerful.

Never had any problem at all!!!

Never had to deal with support

I have never seen another acoustic amp that even compared in my mind. I would buy it again. Its still very cool...

rated at 100watt, at 1st sight you,d think 'no way.too small'this is one serious amp.
4 standard trace 5inch speakers.digital reverb/delay. not excellent, but usable.2 channel.high/low.5 band graph eq.notch filter for feedback cancelling.this actually works.serial fx loop. never used it cant comment.at 100 watt its quit loud, if more volume needed pre&post eq DIs to attach to p.a

through my trace i play an old ovation with a home made pre amp.
takamine ec132 sc.and mandolin of questionable parentage.this amp perform at top volume without complaint. be it finger picking or hardstrumming.what i like about this amp is that it sounds like my guitars played by me only louder.this being said if you mess with the EQ you can get more high or low end than you can possibly handle.

i have not had the amp long.but i feel that it is trust worthy.at the price it should be.

never contacted trace, or should i say marshall now?

i have been playing 20 years now approx.i have h&h amps. fender.
laney.and the amp with no name. prob same family as my mandolin.
if i lost it i would cry as i couldnt afford another.if i could id have two as you can link them up with each other ,so im told.
i tried an ashdown,i know this is almost trace,which is also an excellent amp and a marshall soloist.but when i played the trace i knew i was home.one thing though for being a very compact amp its certainly got some weight

100-watt acoustic guitar amp. 2 concurrent channels. Channel 1 has dual input for passive/active pickups. Channel 2 has dual input for guitar or microphone. 5-band graphic equalizer. Reverb/digital delay circuitry. Notch filter. 2 effects loops.
This is a very well equipped amp. Onboard chorus would be nice, though I've never been satisfied with built-ins from other manu- facturers.

I play 2 different Taylors & an Ovation 1763 classical through the Trace. Typically, I play a relaxed finger-style & sometimes rockabilly using flatpicks.
The 5-band EQ is extremely flexible, capable of generating more bass than you can possibly use, or ear-splitting treble. Played close to center, it produces a warm, natural sound that will show off your acoustic guitar's best and worst tonal qualities. A slight bass or treble boost will give wildly diverse sounds.
The notch filter is effective in eliminating feedback, though if you use a high bass boost, you'll still need a soundhole cover at higher volumes.
Volume is more than sufficient for most acoustic players. I use it for wedding receptions and am able to cut through the noise of 300 chatty guests in a 4,000 sq ft room. If you need more power than that, you need to plug into a PA system, anyway.
Important: The Trace will handle a hard pick attack at high treble. Try this with many amps and you get a clip, almost a barking sound.
I often play through a Boss Super Chorus pedal; nice effect without being too metallic. Works well inline or through the FX loop.
Reverb is a bit tinny (I grew up on vintage Fenders) & digital delay, while very handy, could be more flexible. It does have a nice slap- back effect for rockabilly.

My Trace goes everywhere with me and gets regularly kicked and bumped. No real problems; no complaints. It DOES have a slight noise problem when adjusting reverb intensity; someday I'll have it looked at. And the former owner had to have a speaker and some circuitry replaced under warranty.

No experience here.

I've played for over 30 years, and have been heavily acoustic for the last 15. I previously owned a Guild Aspen; no comparison. I've played Crates, Marshalls, Epiphones. Marshall is close but not quite there. In my experience, the only better acoustic amp on the market is the Fishman. If money is no object, buy it. If price matters, go with a Trace and scale the model you choose to your budget.
Other eqp: Taylor 710CE, Taylor Dan Crary Signature, Ovation 1763 classical, 2 Strats, 2 Fender elec amps.