Trace Elliot Trident C100

As with the other reviews for this amp I can't fault the list of features available.
I only really play heavy rock with this amp although I could really do anything with it, it's that good! Read below for all the technical specs and features.
I own the head version of this amp (H100) and it doesn't have reverb which could've been an improvement perhaps, but apart from that it does everything else I could ever need.
Being an all tube monster, the Trident is LOUD, I run it through the matching cab (fitted with 4 12inch Celestion Vintage 30's) and there's certainly all the power that I need for gigs.

I use either a Gibson Explorer (stock pickups) or a Tele Deluxe fitted with two wide range Fender humbuckers and the Trace gives me the sounds I've always dreamed of, i.e. Kyuss, Queens Of The Stone Age style tones or more aggressive metal sounds.
The clean channel is nice and warm and the second channel can be either a dirty clean or laid back overdriven sound. The clean stays clean even at the loudest setting I've run it on, it sounds like it has a compressor that cuts in at high volumes keeping the tone nice and sweet.
The third channel is pure rock evil! I've fitted 6L6's in place of the stock EL34's and this amp kicks out some serious tone!

I have had my share of problems with this amp such as crackly channels and randomly blowing fuses but luckily I was able to find a company that services Trace gear as a speciality and they have since restored it and I've had no problems ever since.

No more Trace means no help for me!

I've been playing for about 7 years and I can't imagine ever wanting a different amp than the Trace, people constantly try and offer me money for it at gigs (as much as #1000!!?), but I'll never sell it!
I don't know what I'd do if it were stolen or lost, probably scour the globe for one until the ends of time!
I've tried different heads since I bought the Trident (Orange, Mesa, Laney, Marshall, Engl) and none compare in terms of features, sound and flexibility.
I'll play this amp till the day I die, it rocks!

(I dont really want to reiterate all the technical specifications. For one thing it gets repetitive when you read all the reviews and also, the previous reviewers have done a pretty good job I think.)
Not sure what year this amp was made - but it is in very good condition - probably a mid nineties I guess.
This amp is the most versatile one I have ever owned and I've had Fenders, Musicman and Marshalls in the past.
I use a 70's Strat with original Floyd Rose and stacked bridge humbucker and also an '85 Gibson 347 (basically a 335 with more powerful humbuckers, bigger centre-block and coil-tap switch).
The 3 channels are all great sounding - (1)Clean : gives that lovely bell-like Fender tone, though I would say that the reverb probably isn't quite as lush as the Twin. Channel (2)Crunch : by far my favourite, This baby ranges from dirty-clean to full blown crunch but you have to persevere with the settings to get 'the' sound you want, but it is definitely there somewhere. Channel (3)Dirty : This ranges from dirty crunch to full-blown valve cascade but still has a kind of 'organic' feel to it - not clinical like a metal amp. The scoop switch notches the middle out and some of my friends like it - but its not for me the un-scooped sound is just too good.

Channel (1) sounds warm and clean with the 347 and has a rich bell-tone with the strat, starting to become more hollow sounding as you crank it up especially on the neck pickup.
Channel (2) Works brilliantly with the Strat and a Boss BD2 Blues Driver but dont overdo it - you dont need to - just enough gain on the pedal to push those tubes over without adding too much colour to the valve tone.
Channel (3) Great fun this for those heavier numbers. Without pedals the tone with the Gibson is absolutely awesome - cuts through like a chainsaw! - bags of sustain for searing solos. Start putting a TS9 or something in the line and hitting the boost switch and you need to duck! This is a VERY loud amp.

When I first got this amp it did make a buzzing noise occasionally and I took it to the techy for a 'once over'. Turns out that a pre-amp valve had incorrect biasing and was slowly being cooked! Swapped the valve and it has been fine since.
I have noticed that the amp runs quite hot and the rear metal panel is hot after playing, it isn't a very well ventilated design - I am toying with the idea of making a new back panel and wiring in a couple of small cooling fans just as a precaution - maybe.

I bought this baby used so I'm on my own.
I have however manqaged to get all the wiring schematics and manuals for this amp - which is nice for any future mods / repairs.

I have been playing about 20 years or so. If this amp got stolen I would definitely replace it, if I could. If I couldn't find one I would buy something like a Mesa Maverick or Cornford, but it would cost a lot more than 400 quid!
What I really love about this amp is its versatility and that the huge range of sounds has not compromised the tone quality. You have a huge range of good tones in this amp - that takes some beating.
Cosmetically, it is also a very attractive amp in green leatherette and chrome and has a classy feel to it.
A previous reviewer complained about the weight - and boy it IS heavy! I dont regard that to be a criticism though, good gear has to be well made and substantial. (I have added castors which help a lot on flat floors and stages but I dont push it over rougher surfaces.)
Lots of music gear is heavy - get a grip!
All-in-all the Trident is one brilliant amp.

I wrote the review listed second from the bottom on this page, and I felt I should update some of my opinions after playing the amp for a couple years. Starting with features, I have no real complaints here, except that the cabinet itself could have been designed a little better. This is not a well-ventilated amp, which I think is mentioned by another user here also. I intend to have a new cabinet built for it sometime in the near future. It also needs a better reverb tank--the one it comes with is a little dark and muddy for my taste.

Nobody here has really given an in-depth description of all of the amp's features, some of which are paramount to why everybody loves this amp so much. I'll start with the basics: three channels (clean/drive/lead), 100w, mono fx loop (footswitchable), reverb (footswitchable). There is also a master preamp boost, which can be turned on or off for each channel. Seems simple, right? Here comes the fun stuff.

Channel 1 has your standard three-band EQ with a push-pull bright control (see below for my description, this switch is special). Channel 2 has a three-band EQ with a push-pull midrange boost, and the level change here is significant. You can also switch the EQ to be pre-gain or post-gain with another push-pull pot. Channel 3 has a three-band EQ with a push-pull midrange scoop. Channels 2 and 3 have gain and volume controls; Channel 1 only has a gain control as it really isn't designed to drive a whole lot.

The back panel of this amp is also very special. You can auto-bias the amp for EL34's or 6L6's with the flip of a switch. The fx loop can be run in series or parallel. The amp can be set to run at half power. Now for the really fun part--there is a knob back there labelled "Output Damping", which reduces the amount of signal being sent from the output transformer to the phase splitter. This tightens up the sound and smooths everything out, adding a very natural compression (it also diminishes the bass response slightly). This is a very useful control once you learn what to do with it.

As you can see, these aren't your standard pedestrian bells and whistles (four channels, built-in effects), but instead feats of engineering which allow the user to control some of the very basic functions of the amp itself.

My list of guitars has changed slightly, so I'll start there. Through this amp I use a Les Paul Standard, a Les Paul Deluxe, a '55 ES-225T, a PRS McCarty Soapbar Rosewood, a Strat w/Anderson pickups, an Ibanez ES-175 copy, and occasionally one of my other guitars (there are a lot of them, so I won't list them all here). The amp is very versatile. It responds to each guitar differently, and through experimentation I've learned to get a variety of sounds out of it. Channel 1 is your typical Fender Twin clean channel, though I find the midrange control to be more responsive than the average Twin. The bright switch is not brassy, harsh, or offensive. It functions like a bright switch should--it moderately boosts the treble in a useable frequency range. This is a huge credit to Trace--I won't touch the bright switch on most amps, but I find myself reaching for it on a regular basis with this amp.

Channel Two is a bit of an enigma. I've had a few people who borrowed the amp from me comment that it doesn't have enough gain. It has a decent amount of gain, but learning how to get it is a bit of a trick. First off, I have the gain set at full-tilt the entire time. With the gain boost turned off, this gives a nice, open sound with a lot of definition. The character of this sound responds quite a bit to the pickup being put through it. With the neck pickup of my Strat, it sounds like a clean channel with a little bit of hair on the edge. With the hollowbodies it takes on a much thicker, semi-distorted character. With the gain boost turned on, the amp goes into TubeScreamer territory. Even with the treble turned up most of the way, it never really gets edgey. It stays controlled and useable. BTW, I tend to leave the midrange boost turned on.

Channel 3 does exactly what I said it did in the first review. Right now I'm in the process of learning to moderate it to get a smoother lead sound that will be a little more flexible when playing outside of a rock context.

I have taken to turning off the gain boost on Channel 1 and Channel 3, simply because it doesn't alter the character of the channel's sound the same way it does on Channel 2. In essence, I have given myself a four-channel amp (Channel 1, Channel 2, Channel 2 w/boost, and Channel 3). The boost wasn't really enough for a proper solo boost anyway, so I now use a Seymour Duncan Pickup Booster at the end of my fx chain.

The amp overheats occasionally, causing the amp to quit functioning. The amp stays on, but the channel lights turn off, as do the lights on the footswitch. After that, I get no signal. I'm looking right now for someone who has seen this before and knows how to fix it. Simply cycling the amp's power fixes it 99% of the time. Still, it keeps me on my toes a little bit.

The guys at Gibson no longer service pre-Gibson Traces. I recommend Shane at www.britishaudioservice.com if your local guy can't handle the problem. While I'm at it, I'll put in a plug for my local guy, who usually can handle the problem: www.thesisaudio.com.

I'll keep this thing forever. This amp epitomizes the idea that an amp isn't a tool, but rather an instrument.

three channel, all valve amp that i think gives mesa a close run for the money. mine's a late 90's amp, and it absolutley rocks. from clean rhythm sounds to driven power chords and screaming leads... its all here

guitar one is a PRS CE22 with dragon II pickups. guitar 2 an aria proII libra with H/S/S cet up. clean the amp has a tight sound without feeling compressed... you hit the strings... the sound hits you. drive is typical for a multi-valve pre amp... and i use the f/x loop as a volume boost with a line 6 digital delay for depth. operating noise is minimal... volume... well be prepared to make the front row at your gigs cry!

so far i have replaced the el34's, and just had my local amp guru sort out a dodgy pot and resistor. As it gets used 3-5 times a week at gig volume, this is par for the course as far as i'm concerned

trace is owned by gibson... i have heard mixed reports... as my amp is out of warranty, i doubt i'll be having the pleasure. that's what local guru's are for.

this is a versatile amp... i play in two bands... a 70's and 80's soul, funk and disco band (The Midnight Hour) and a rock band (Air Guitar) For what i paid for it, the trace blows everything else i've heard away. it is very usable live, and has a killer tone my marshall toting buddies can only dream of!!

I bought this new in 1998 and I think it was an 'end of line' clearance. Not much to add to the descriptions below. 3 channels - clean, crunch and high gain - all footswitchable with boost. Effects loop and reverb are also controllable from the footswitch. More than enough power for any gig.

I use a Gibson M3, John Birch Custom, Yamaha MSG and Ibanez S and RG with a selection of pickups, playing classic rock (Lizzy, Purple, Free, etc). Always sounds great. I've been playing for over 30 years and have owned dozens of amps (Marshall, Vox, Orange, HH, Laney, etc.)and this is by far the best amp I've ever had. I've bought a head version as well for a spare - eBay bargain - and that sounds just as good (no reverb though). Users should note that channel 2 has an EL83 (?)output valve in the pre-amp stage to give that Vox AC30 tone (it works too!).

I've gigged the amp extensively and it's broken down twice (always at a gig!!!). The first time it was fixed under warranty (excellent service from Andertons and Trace Elliot)and the second time by a friend who is an amp tech. I've had the valves replaced once as part of a service. Fault was probably caused by condensation - hot, sweaty club with amp running hot in high humidity and then flight cased and moved into a cold truck. Next time it was switched in there was a short which blew a capacitor.

Trace Elliot were excellent to deal with both for repairs and enquiries about a mod I wanted done (MIDI control - too expensive)but they've since been taken over by Gibson so I doubt support will be anywhere near as good. Can only mark them on my own experience which is now out of date.

Most of my gear is listed above. I have a couple of Digitech processors and some rack gear (Sansamp PSA1 , Yamaha FX770 & Marshall 8008)but don't need it with the Trident, (unless I fancy a different sound). I recently tried a compressor with the Trident and that worked really well, especially on channel 2.
If this was stolen I'd definitely try to replace it.
If you buy a s/h Trident, the manual is still available online in pdf format from the Trace Elliot website.

To better this amp you'd need to start looking at much more expensive amps from Mesa Boogie, Dumble, Rivera, etc. and, even then, I doubt they would significantly outclass it.

I think this was one of the last model years for this amp, I bought it in 99 after a lengthy lay away. Probably a 98 model. I play roots-oriented rock, some shoegazer style loud, midtempo rock, and Chapman Stick prog-dork metal through this amp. The Trident covers all these styles with room to spare. Tube amp with 3 channels: clean, light distortion and heavy overdrive, all switchable on the fly w/included footswitch. Amp is loud loud loud if you want it, but sensitive enough to get real feel out of it too. I like the input and output adjustable effects loop, which can be parallel or in line. I also like the switchable tube features. Very versatile. I am pretty anal about my gear, so this amp has been treated very well, and it's given back as well as I could have hoped for

I play an American Standard Strat, A Gretsch Beast (solidbody w/neck & bridge humbuckers, and Chapman Stck with Stickup passive humbuckers. I also have played my madolin w/Fishman bridge p/u and even my double bass fiddle also w/ fishman passive through this sucker!! The Trident is a little noisy when I am going through just one single coil pickup an the Strat, but no noisier than any other amp, and again, you can just stomp and switch to a clean setting, then stomp back to the noise when you need it.

I have played a ton of different styles, dynamics, and volumes with this amp and have never been disappointed. The clean is crisp and controlled at all volumes I have used, and the distortion ranges from overdriven Fender Reverb to ass-chomping Mesa-style saturation. The boost feature is really nice, too. On the second channel you can go from a nice warm, mostly clean tone to a gut stomping distortion with a stomp! HA HA!!

This is my only real amp, I sold a jerry-rigged blackface Super Reverb to get it, and have never required a backup. I have used it and moved it back and forth from rehearsals to gigs to my house, up and down stairs, in the backs of dubious trucks and vans, etc. I take very good care of my gear, so this may not be a typical response to this amp, but it's never done me wrong. Except it weighs a freaking ton, and my chiropractor loves it as much as I do, but for different reasons.

Never called Trace, and refuse to call Gibson, knowing they suck the mighty eel god in the customer-service dept. Take this amp to your local tech guy and everything will be fine.

I have been playing, gulp, 23 years. Own a ton of gear, nice and otherwise. I mostly play the Strat and the Stick.

If this amp were stolen, I would kill the guy. If not recoverable, I would search for the same thing and buy if under $900. I would replace it with a reissue blackface Fender amp AND a Mesa to make up for the versitile nature of the Trident.

I love it's versitility, I hate that it weighs approximately one metric ton. What it lacks in motility, though, it makes up for in sound and features. I'll give it a ten overall. I've played through a lot of amps, and while some of them offer some great stuff, they most all have signifigant (sp?) drawbacks. I have yet to find one that has such great features and sound with so few problems/design flaws. This is the best combo amp I've ever had.

I'm not sure how old the amp I have is, but I've had it for over two years. This all-tube amp is incredibly versatile because of its three independent channels. Each channel has its own gain, volume (except ch.1), treble, mid and bass knobs and (some of) these also have a push-pull functionality to alter response and tone. There is a master volume control regulating the output of the amp, but because of the independent preamp volume/gain controls you can choose to either drive the preamp tubes or the endstage EL84's. This amp does take getting used to just to find out how much it can actually do!
I play mostly blues and knopfler, and this amp suits my needs perfectly. I looked around for a long time, trying to find a good second hand twin reverb but ended up with the trident instead. This amp should suit the needs of most guitarists, because of its many options (boost, output damping, additional sockets for speaker cabinets, effectloop with input/output volume control, presence, reverb, biasing switch to allow for quick tube change). It has more than enough power for playing at gigs (switcheable 50/100W). A footswitch is also included. I play this amp at home mostly, but I have jammed and played in small venues with it. The only thing with this amp is that it is very heavy, which is why I almost decided to get rid of it. But then, would I ever find such an incredibly versatile and rugged amp again?

I have a Telecaster plus; a USA telecaster with lace sensor pickups. The bridge pickup is double and can be switched to both single and double. When using the both bridge pickups, I find the amp breaking up sooner (which is to be expected), but the first channel stays clean unless you dial past the '3 o'clock' mark. The first channel reminds me of a fender twin reverb, although it sounds a little brighter. The second channel goes from clean to dirty blues. The clean on the second channel is different from the first channel however - it's not as full bodied, but there's more 'bite' to the sound. The third channel goes from dirty clean to heavy distortion. Rock guitarists would find more than enough gain on this channel! Kicking in the boost adds bite to all channels, and extends the range of sounds (esp. on the second channel) even further.
The more I use this amp, the better I like it. It takes time to find the right sound - I'm a bit finicky in that sense - but it's all there. This is an amp you have to get to know, but once you do you'll never want to get rid of it - despite its weight.

I have had some trouble with it:
When I bought it one of the two 12 inch Celestions had blown, so I brought it back and it was fixed free of charge.
About a year ago it started buzzing, and so I had a few tubes in the preamp changed, which fixed the problem. It cost me quite a bit to fix because this is not a very common amp and it took the technician some time to figure what the problem was.
The speaker problem was caused through neglect and ignorance, as the ohm setting for the speakers (for which there is a switch) was incorrectly set - thus blowing the speaker. The tube problem was due to poor ventilation in the amp causing large temperature differences resulting in early tube wear.
I would take this amp to a gig without backup. It is very reliable when treated with the proper care.

I did write to trace elliot asking for a manual, which they sent promptly. I don't think I'd have much luck now because Trace Elliot is no longer...
I don't know anything about warranty etc. so I can't say...

I've been playing for eight years. The last couple of years I've started playing electric seriously. I have a small Orange amp, which is nice to use alongside the trident to get a great stereo delay sound. I have a BOSS blues driver, BOSS digital delay, BOSS tremolo, Vox Wah - but I only use the delay and tremolo regularly. I find the amp sounding its best on its own, and using effects tends to take my focus off technique and feeling.
As I said earlier, this is an extremely versatile amp. I've tried various fenders, peavey, orange, and marshall amps - but I would go for the trident any day. If it were stolen, I would have to save up for a long time, but I'd get an amp like this again. This amp is very dynamic in its response, has lots of power, and makes my telecaster sound the way I like a telecaster to sound: no-nonsense, honest, sweet, and a little cocky. Each make of amp has its own charm, and I really like the way some sound, but I'm a little surprised at the fact that this amp is not more popular than it is. Perhaps because it isn't very accessible.

I use this amp for a lot of different gigs-- a modern jazz-fusion quartet, a church orchestra, and various rock gigs. It seems to suit any style. I just change guitars, change EQ settings, and it works great. I have yet to push the master volume above six, and that's at half-power. The only feature I wish it had that it doesn't is a stereo effects loop. I have a Trace Elliot Quad Chorus and some Rocktron rack gear that just doesn't work quite as well without a stereo loop. My older Trace SuperTramp has a stereo loop.

This amp has three channels--clean, Texas-style distortion, and rectifier-style distortion. I use all sorts of guitars--Gibson Les Paul Standard, Fender USA Stratocaster, Hamer Californian (27 frets, Floyd Rose), Epiphone Les Paul, Ibanez Lawsuit 175 copy, D'Aquisto Archtop, '53 Gibson L-48 w/detachable Dearmond pickup, Yamaha RX (24 frets, Kahler, cheap distortion pickups), Ibanez Silver Bullet (tuned to G), and a Raven Doubleneck. The amp is ultra-versatile--it covers everything from jazz to blues to rock sounds. I run about 15 pedals and it still doesn't make any hiss--at church I can leave it on throughout the service and not worry about excessive stage noise. This is good because Channel Two opens up A LOT after about 30 minutes. Channel One has a nice compression to it--as you increase the volume the high end diminishes slightly, rounding out the tone. Channel Three has the sound I was always looking for--Eddie! It nails that Eruption tone--dead serious. I've played several Marshall stacks (I've worked in two music stores), this thing is beyond compare!

I have yet to have problems with it. Marco, the previous owner (see below) never had any problems with it that I know of. Channel Two takes a little longer to warm up than I would like it to, but other than that I trust the thing. Trace Elliot has a nasty reputation for unreliability, but I have four Trace amps and two Trace pedals and very few problems.

As of December, Trace Elliot no longer exists. Furthermore, I got the thing used, so no comments here.

I bought this amp from Marco (the other guy who owned this amp) so our reviews are on the same amp. Marco loves the amp and had to sell it because he has some back problems. I put wheels on it, so I don't have the same issues with it. The sound is what I was always looking for--I will use this amp for as long as I play. If this amp were stolen I would track down the theif, cut off his feet, and beat him senseless with them--then take my amp back. In all seriousness, I would have gladly paid twice as much to have this amp. If it were stolen I would have to replace it. It is simply without compare. Marco may not feel this strongly about it, but I sure do.

The Trace Trident series was discontinued when Gibson bought Trace Elliot. I would say that my amp is about a 97 or early 98 model. I bought it as a closeout from Trace directly. I was able to do this 'cause at the time I was working at Music Go Round. The amp lists fro $2799.00. You can find one used for $500-$1000
First Features! Stay with me. Drink some coffee. The list is LONG!
The C100 is an all tube 100 watt combo with 2 12" Cestion vintage 30 speakers in an open backed cab. It is similar to a twin, but is wider and heavier (about 100 lbs.). Power is provided by 4 tubes. I now have 4 Telsa EL34 tubes and russian preamp tubes. One can also install 6L6 tubes without biasing! All you have to do is flip a switch in back. you can also use 6550 tubes but you have to set the switch to the 6550 position AND rebias. A triode and pentode switch allow you to use only part of the tubes and also to cut output power. This allows you to save tube life and also to be able to drive to tubes harder at lower volumes. There is a damping control, a mute switch, and a set of channel routing switches in case you don't want to use the footswitch.
Front panel controls are activated by attractive large chrome knobs.
Channel 1 has vol, treble (pull bright) middle and bass. Channel 2 has gain, treble (pull bright) middle (pull mid boost), bass and level. Cannel 3 gain, treble (pull voicing [in position seems to be British distortion and pulled out renders a more American, notched mids sound]), middle, bass and level. Master section has Reverb, presence and master. Each channel section has a switch that can activate a boost (souds like about 6db) that goes to the preamp section of each channel. So you can have the boost activated on one channel and deactivated on another.
The amp is covered in cool green vinyl, with a green grill cloth. It was made in England.
I use this amp for band performance and have used it in the studio. It has alot of tonal possibilities. Basicly you have clean, fender dirty and British distortion.
At 100 watts, it is all I ever need. But it is HEAVEY!!!!

Okay. I use a Hammer T52 (high quality tele copy) and a '71 Les Paul Deluxe with the standard minihumbuckers. My band is called The Suburbillies. We play anything from Bluegrass to thrash. On the honky tonk stuff channel 1 is very sweet, esp with the tele. It's like Butter! I can get reasonably loud and stay clean. Channel 2 is a low distortion channel. I use it
on the bluesey and vintage rock numbers. It renders a fine Fender Bassman on 10 sound. To get the most gain use the boost. At first I didn't like this channel but I use it more and more now.
Channel 3 is the high gain channel. There is way more gain than I would ever use. With the gain cranked and the boost on, the tone seems to get a little brittle. When I try to EQ it, there seems to be no middle ground between too thin and not enough treble. I'm still playing with it. Humbuckers help. I ususally run the gain about half way up and use the boost (vis footswitch) for solos. It is a cross between Marshal and Mesa. When I pull the gain knob and activated the 2nd voicing of htis channel, I get the notched mid drive of the 80's hair band sound (so I don't use it). Some of you may like it.
When I take this amp out, I don't use any peddles or fx except my wah-wah. Every tone I need is available, and I use ALOT of different tones.
The only reasons I am not giving the amp a 10 is that it doesn't do everything perfectly. I know,I know! no amp does every tone perfectly. But a man can dream can't he? To be fair, I haven't found an amp that I would rate perfect. This is as close as I have found.

This amp has fallen over three time in the van. It hit with a very loud crash. (The Suburbillies are rough on gear). So far, So good. The stock tubes went bad within one year. I replaced them at about 60$ for power tubes. The pre tubes are still fine. This is the only amp in our band that has yet to go down.

The trace company was not great for service before. Now that Trace Elliot is owned my Gibson,it will really suck! I tried to get an extra footwitch cable (a weird 7 pin cable) and they found one in stock in England. After 7 months I still haven't seen it. My advice is Bypass Gibson alltogether if you can! Use your local tube guru and check with Wd or Kendrick for replacement parts. I found the Cable and ends for the footswitch cable at Mouser Electronics.

Been playing 22 years. Pro for 15. I own some old fender amps too which I play on stage when I am not playing the Trace.
If the Trace were lost, I would repalce it if I could find one under $1000. I campared it to the 3 Channel mesa boogie.
I wish it had a matching 2 x 12 cab. I wish I could get Green vinyl to repair the rips in the cover. And I wish it weren't so Damned HEAVEY!!!