Les Bonnes Affaires En Cours 3

[timbogert33]

Technologie MOSFET 500 Watts (4 Ohms) sortie scène (avec enceinte supplémentaire)
Circuit Preshape

ça c'est pour le 715X justement. Donc cab supplémentaire pour avoir 500 W.?

[Redhunter]

j'ai moi aussi succombé à la tentation ,un AH 600 qui arrive mardi.....(le 1210 stock épuisé réapprovisionnement le 5/9/2016)???... donc c'est pas une fin de série?est-ce la fin de trace elliot?ou une nouvelle fabrication asiatique merdique!!! quelqu'un a des infos?

Pas d'info, non, effectivement c'est un peu bizarre, mais oui, je pense que c'est la fin....

Wait and see...

[kascollet]

En rajoutant un cab,sinon tu n'as que 300W( c'est du 8ohm)

Il existe un 715 en 4ohm aussi et la tu est tranquille.

J'ai fait quelques dates sur la tête 12eq (celle des combos est la même). C'est du matos extra. Compresseur parfait (car reste simple), super lisible dans le noir, tout plein de sorties, puissant comme un Markbass et pas forcément typé (tout est bypassable : tube, eq, preshape, comp).

Une review complète du 1210. Ça dit bien 350w à 8 ohms et 600 sous 4... mesurés !

http://epublish.panaprint.com/publication/?i=143796&article_id=1293958&view=articleBrowser&ver=html5#{"issue_id":143796,"view":"articleBrowser","article_id":"1293958"}

Trace Elliot 1210 Bass Combo and 1028H Bass Cab

Guitar players worldwide get their Brit on courtesy of Marshall Amplification. For bass players, laying down the low end Union Jack style means Trace Elliot. The unique green glow of Trace Elliot rigs have been gracing stages and bringing British audio sensibilities to bass players since 1979. You know how theres a new trend where bass rigs are evolving to be more and more like full-range PA rigs? Yeah, thats not so new. In fact, Trace Elliot owes its roots to a company called Soundwave, which built and rented out PA systems in Romford, Essex, UK. It turns out that a lot of their PA rigs were being used as bass rigs. And no wonder; most of the supposed bass rigs on the market at the time were slightly modified and generally ill-suited guitar amps. So those intrepid blokes at Soundwave boldly stepped forward and gave us bass players what we really wanted rigs which would let us be heard above those pesky guitars! The new bass amplification brand, Trace Elliot, featured MOSFET output sections, bigger enclosures, and even the worlds first 4x10 bass enclosure (yeah, like those will ever catch on). Legendary designer Clive Button joined Trace Elliot in 1985, and by the close of the 80s, Trace was on top of the bass world. Looking over their illustrious history, Trace Elliot is responsible for so many iconic products and innovations in the world of bass amplification. Graphic equalization, dual-band compression, and pre-shape circuits are a few of the features that stand out across the brand and still have relevance in todays products. Names like 1048H, GP12SMX, and VType translate immediately in any (remotely worldly) bass players mind. No trip to maturity is complete without some growing pains, though, and Trace Elliot has been through several revisions as a company. Sold to Kaman in 1992, and then to Gibson in 1998, things looked bleak when Gibson closed the doors in the UK in 2002 (though a few products continued to be produced in the United States). Ah, but in 2005, Peavey Electronics, who had former Trace Elliot director Clive Roberts (the other Clive) on staff, acquired the brand, and a revitalization began. Former Trace Elliot designer Paul Stevens who worked on one of the treasures of my personal amp collection, the mighty V8 was brought back into the fold, and the new old Trace Elliot was off and running. For this review, Trace Elliot has sent us the 1210, a 600-watt 2x10 combo, and a companion cab, the 1028H. If It Aint Broke Keep Making It Better Trace Elliot likes to use numbers in meaningful ways when coming up with their product names. The 1028H, for instance, has 10 drivers (2 of them, in fact), is rated at 8 ohms, and features a Horn. The 1210 combo has a 12-band EQ, and features 10 drivers. The 1215 combo features a 15 driver. The AH600-12 amp head puts out 600 watts, and has a 12-band EQ. Got it? Guess how many output valves my V8 has? Looking at the business end of the 1210 faceplate, theres lots of familiar imagery: red-capped Input Gain knob; green-capped Output Level knob; input gain LEDs; Pre Shape button; 12 EQ sliders and a button to take them out of the equation when you dont need them; Low Band and High Band compression; and that inviting green glow. Ah, it looks like Trace Elliot is continuing to offer us what weve grown accustomed to, and theres nothing wrong with that. But wait, this stuff seems a little different In truth, what Trace has done is to carefully examine what they are offering, keep the great stuff which has served them so well for so long, but look to ways to make improvements where they can. I remember checking out the new Trace amps at the NAMM Show back in 2009. They looked familiar and inviting, and I had to just jump in and start jamming away. One of the things I noticed, though, was that I was getting a lot more preamp tube overdrive than I was used to getting out of my old GP12SMX preamp. I must have muttered something out loud to this effect, because this guy in a Trace Elliot shirt turns to me and says, Thats because now we are using both valve stages in the Drive circuit. That guy turned out to be Paul Stevens, and we had a killer conversation. Later, I went back to shoot a video with Paul for the Bass Gear Magazine YouTube channel, and there was this other guy in there hogging the rig. That guy turned out to be Dave Ellefson (did I mention that 2009 was a great NAMM Show for me?), so I asked him to provide some musical accompaniment for our video. Check it out here: _ . A Closer Look Lets take a closer look at that front panel on the 1210. Theres a single ¼ input, but with the Hi/Lo switch, you can adjust for active or passive axes (this switch also involves a slight change to the input impedance, so be sure to try both settings, and see which works best for you). Trace Elliot has always done a good job of providing and effective means of monitoring your input signal, and the five LEDs give you a nice level of accuracy when setting the Input Gain. Pre Shape is a classic Trace Elliot circuit, and to my ears, it sounds like they havent changed much as far as what its all about. Its a mid-cut, with a corresponding boost to the lows and another bump in the highs. Simple, but effective. The Drive and Blend controls are amazing tools. Engage the Valve button, and they become active. As Paul said, the Drive circuit dials in two cascading valve stages (from a single 12AX7), and the range of overdrive available encompasses pretty much all that you could hope for from a single preamp tube. The Blend knob, though, is what allows you to dial in all the grind and drive that you want, but still keep your overall tone full, tight, and powerful. I love this control! When I am elected Supreme Commander of Bass Amp Feature Sets, I shall decree that all heads, combos and pedals which feature a defeatable overdrive circuit shall also feature a clean blend! Its really what makes this Drive circuit so darned useable. And the two cascading valve stages oh, how nice Next, we come to twelve sliders and one little button. Some bass players seem to have an irrational aversion to graphic Eqs. Bass notes are big and round, and bass EQ should be done via big round knobs, right? But consider this: with 12 bands of graphic EQ each band having its frequency center printed above the slider you get not only a visual (dare I say, graphic) representation of how your tone is being shaped, you also get actual frequency information about whats being adjusted (not just terms like midrange). You can fine-tune to a greater degree, know just what slices of your bass tone are being affected, and then see the big picture of your tone tweaking efforts at a glance. The white sliders are very easy to see on stage, especially with the green back lighting. But hey, if you dont like to mess with graphic Eqs (or you do like to, but only for certain tunes), you can take it out of the signal path with a single button. Even without the use of the graphic EQ, the 1210 offers a surprising amount of tone control by varying the Input Gain and Output Levels, use of the Pre Shape (or not), tweaking the Drive/Blend settings, and playing around with the dualband compressor. That compressor is super cool, and quite possibly worth the price of admission all on its own. Trace Elliot used to offer this compressor (or some form of it) as a standalone pedal. Maybe its time to bring that one back Being able to separately compress your lows and your highs allows you to dial in one, without mucking up the other. It sounds cool on paper, but its even more impressive in practice. Finishing off the front panel, we have the Loop button (which takes the effects loop in/out of the signal path), the Mute button (guess what it does?), and the Output Level control with another LED above the Output Control that flashes on and off when the Mute is engaged, lights up momentarily if you clip the output, and lights up continuously if something more serious goes wrong (like thermal shutdown, short-circuit protection, etc). Back Panel Glory If you have some real estate available on the back panel, you may as well use it, right? Well, Trace Elliot certainly does. The back panel is packed with well labeled, useful features. You have your garden-variety (but highly functional) power cord socket, mains fuse and (green!) Power switch. Then we have the super fun Front Panel Brightness knob. It of course varies the front panel brightness, but this control hearkens back to the days of Trace Elliot heads with black lights aimed at the front panel. I have these cool old VA400 and AH1200SM heads which feature this black light, and it does look awesome! But the current iteration of the green glow is admittedly more practical but still super cool looking! The internal drivers (and horn) connect to the output section via the ¼ speaker output, and a combined ¼ / Speakon® speaker output is available for driving an extension cab. I like the use of these combined jacks, as they take the worries out of bringing the right speaker cable. Right in the middle of the back panel, the Union Jack is proudly displayed, followed by the words Designed in Great Britain and Assembled in the U.S.A to Trace Elliot Specifications. Thats just sexy cool. You want outputs? Weve got your outputs! Not one, not two, but three balanced XLR DI outputs grace the back panel, for Left, Right, and Pre EQ signals. A common ground lift is present. Beneath these balanced outputs are ¼ unbalanced outputs for Left, Right, and Tuner. The Effects Loop has all you could ever ask for. You get a choice of series or parallel operation, a Loop Level control, Left, Right, and Mono returns, and the ability to send either a Full range, Lo Pass, or Hi Pass signal. Thats a boatload of loop options! 8-pin DIN connectors are also provided for the BFC-6 footswitch which allows you to remotely control the Pre Shape, Valve, Graphic EQ, Compressor, Loop, and Mute functions and an External Control socket, which allows you to either use two BCF-6 controllers on one amp (put them at different places on stage) or else use one BCF-6 controller to switch more than one amp by daisy chaining through the External Control sockets. Double Down on Drivers While this is a powerful combo on its own, throwing an extension cab underneath lets you move more air and cover bigger stages/gigs. Trace Elliot offers a range of cabs which can serve this role, and they typically recommend the 1518C (a compact cab using 1 15 driver, rated at 8 ohms) as a companion to support the 1210 combo. We opted for the 1028H, to match up similar drivers with the 2x10 combo configuration. Though they use the same drivers and the same horn, the internal layout and volume of the enclosures do vary slightly between the 1210 and the 1028H. This equates to slightly different frequency responses, which is illustrated in Fig. 1. The two play quite nicely together, though. I gigged the 1210/1028H combo in a large hall with a 4- piece rock band (two guitars), and it never broke a sweat. The tone was big and full, but controlled and clear. Most of the tunes called for a cleaner tone, but during soundcheck, I dialed in a killer overdrive with the Drive/Blend knobs, and being able to switch the Valve circuit in/out meant quick, seamless transitions between songs. As I mentioned, Im a bit of a Trace Elliot fan, and as it turns out, I have an older (carpeted) 1028H in my collection. The older cab features ceramic-based Celestion drivers. Comparing the two enclosures, the overall voicing is very similar, especially in the highs. In the midrange, the new cab is a little more full, and the old cab is a bit more precise. The old 1028H has a touch more growl. The low frequencies are where you hear the most separation between the two enclosures, and the new cab is decidedly more robust, bigger, and warmer. Old Meets New I also happen to have old AH1200SM head which is a beast of an amp, especially if you have enough cabs for it to drive. Seeing as how the feature sets of these two amps pair up so closely, I did some A/B comparisons between the AH1200SM and the head section of the 1210. I used mostly the 1028H enclosure with both amps for this comparison. With the EQ set flat and the Pre Shape disengaged, they have a similar mid-forward character, with the AH being a bit more warm/round, and the 1210 being a bit more clear. With the Pre Shape engaged, they behave even more similarly, though here we have to account for the Shape 1 and Shape 2 options on the AH1200SM. With the AH set to Shape 1, it seems to have a slightly more coherent tone, with more upper mids. The 1210 has a bit more low-end boost, and more of a scoop to the mids. Moving on to Shape 2, the AH seems to take more of the highs out, and the mids become more muffled. Comparing the output of these two amps, its important to note that he AH1200SM has two 600- watt output sections, but max power is achieved at 2 ohms (per side). The 1210 has one 600-watt output section, but it hits this mark at 4 ohms. Trace Elliot still offers an AH1200-12 head, which features two of the 600- watt (at 4 ohms) output sections of the 1210. Into a single 8-ohm cab, the 1210 was clearly louder than one side of the AH. Into a 4-ohm load, they seemed more similar in terms of output power. One thing I did note is that the Mute on the 1210 does not seem to completely kill the output, whereas on the AH1200SM, it did. All in all, these two amps sounded and behaved remarkably similar. The difference in the Valve circuit and the wide range of useable overdrive from the 1210 stands out, though. The Bottom Line Trace Elliot has been one of the most important bass amplification brands over the last 30 years, and Im pleased to say that they seem well-poised to continue this tradition for years to come. They have not strayed far from what made them great in the first place, but they have also made incremental, yet meaningful, improvements. Id love to see them move into the class-D amp world at some time, and Im convinced that theyd do it up right. But what they bring to the table right here and now are amps and cabs that flat-out get it done. All that great Trace Elliot tone is there in spades, and though I love my vintage Trace gear, I believe that this new gear does all that the old stuff did, and then some. Whether you are new to the brand, or a seasoned aficionado, the current offerings from Trace Elliot bring powerful, clear tone to the bass world, and deliver a look and feel that is unique and compelling. AMP LAB Trace Elliot 1210 Growing up as a kid, my favorite super hero was Green Lantern (Hal Jordan). I was intrigued by a ring that was as powerful as the wielders imagination and willpower. (I was also curious to see how a superhero, having arguably uncapped potential power, could be vulnerable to fear, and hence things that are yellow.) But more than anything, I was moved by how cool and mesmerizing the glow of green could be. Enter the Trace Elliot 1210 combo. Construction Whether you like it or not, the 1210(or the amp only version, the AH600-12) front panel makes this amp stand out. Large graphic equalizer sliders centered on the front panel are flanked by large and uniquely contoured knobs. A row of push buttons are aligned below the knobs and graphic equalizer. All of the sliders, knobs and buttons are outlined in green. Referring to Fig. 1, however, under the hood, the amp looks pretty conventional. The amplifier circuitry is divided up into logical sections that are interconnected using ribbon cable. Notably, the preamp circuit board, which runs horizontally adjacent to the face of the amp, includes two 12AX7 preamp tubes. Each tube is neatly and securely held in place using spring-biased retainers. The power amplifier circuit board sits behind and towards the left (as illustrated) of the preamp circuit board. A separate power supply circuit board sits behind and towards the right of the preamp circuit board. The controls on the front and back panels are connected to daughter circuit boards that wire into the amplifier circuitry, also using ribbon cables. Understanding the Amp Referring to Fig. 2, a schematic of this amplifier is extremely informative and useful in understanding in how to get the most from this amp. Overall, the signal flow can be thought of as a series of stages, including, in order: an input stage, a pre-shape tone control stage, a drive stage, an equalization stage, a compression stage, a buffer stage and an output stage. Note that the compression stage is after both the drive stage and the equalization stage. This architecture, in combination with the dualband compressor (discussed below) make this amplifiers compression control decidedly different from the garden-variety amplifier topology. The bass guitar signal is coupled to the input stage via the input jack on the front panel. The input stage passes the input through a pad/impedance circuit that is set using the Hi/Lo switch on the front panel. The Hi/Lo switch is actually a dual-function control. It sets a 10dB pad, and also changes the input impedance by about a factor of 10. The signal is then input to a variable-gain amplifier. This initial gain stage, which is controlled by the Input Gain knob, is one of the keys to getting the most from this amplifier. Players used to setting up digital devices will be right at home here. Basically, use the Input Gain knob to set a baseline level through the amp. Set the control to zero, and turn up your bass to its normal playing level. Begin playing your bass as hard as you intend on playing, and start turning up the Input Gain. A red clipping light on the front panel will illuminate indicating the onset of input clipping, so back off the Input Gain knob a click or two when you see the clipping light on. You may have to revisit this setting, e.g., if you make drastic EQ choices, as the clipping is actually measured not only at the input, but also at several points throughout the amplifier circuitry. Because you have both gain and impedance packed into the Hi/Lo switch, experiment around with various settings of the Input Gain knob in combination with each Hi/Lo position to find a setting that works best for you. The output of the initial gain stage feeds the Tuner and Pre DI output jacks. The output of the initial gain stage also feeds the pre-shape tone control stage. The pre-shape tone control stage passes the signal through a fixed filter to provide pre-shaped tone control. The Pre Shape button on the front panel determines whether the signal passes through or bypasses the circuit of this stage. The output of the pre-shape tone control stage feeds the drive stage. The drive stage uses both amplifiers in one of the tubes to provide cascaded tube drive to the signal. The Valve button on the front panel determines whether the signal passes through or bypasses the drive circuit. Within the drive circuit, the Drive control on the front panel determines how much signal is fed into the tube. The output of the tube feeds a blend circuit controlled by the Blend control on the front panel. When the Valve switch is engaged, the blend circuit is activated such that the output of the drive circuit is a blend of analog and tube tones. This allows the user to drive the tube into clipping for a dirty sound, but then blend in clean sound to tighten up the overall output. The output of the drive stage feeds the equalization stage. The equalization stage provides a 12-band graphic equalizer circuit, which is controlled by sliders prominently positioned on the front panel. The Graphic Equalizer button on the front panel determines whether the signal passes through or bypasses the equalization stage. The output of the drive stage feeds the compression stage. The compression stage provides a dual-band compressor, which is controlled by the Low Band and High Band controls on the front panel. Think of the compressor as four separate devices: including a crossover, a compressor for the low frequency output of the crossover, a compressor for the high frequency output of the crossover and a mixer to mix the output of each compressor. The compressor is discussed in greater detail below. The Compressor button on the front panel determines whether the signal passes through or bypasses the compression circuit. The output of the compression stage feeds the buffer stage. The buffer stage includes a buffered effects loop that provides a series/parallel option and also splits the signal into dual mono (for the dual-channel version). The return from the effects loop feeds post DI outputs and a pair of buffers, each with variable-gain input controlled by the Output level control on the front panel. Each buffer drives a stage of the second tube, which is provided in anti-clipping circuitry before being fed to the power amplifier circuitry of the output stage. The Tone Stack Referring to Fig. 3, bypassing the tone stack provides a pretty similar tone to setting all of the sliders in the middle position. This is a testament to the clean circuitry of the equalizer section. Fig. 4 shows the pre-shape on and off, with the 12-band equalizer bypassed. The preshape looks like the traditional mid cut, with a boost around 55Hz on the low end, and a bandpass boost centered around 5kHz on the high end. Figs. 5-10 show the sweeps of the EQ bands. Fig. 5 shows the sweeps at 30Hz and 660Hz. Fig. 6 shows the sweeps at 40Hz and 1.3kHz. Fig. 7 shows the sweeps at 60Hz and 2.6kHz. Fig. 8 shows the sweeps at 100Hz and 5kHz. Fig. 9 shows the sweeps at 180Hz and 10kHz. Fig. 10 shows the sweeps at 340Hz and 15kHz. Preamp Once the input signal is properly calibrated using the Input Gain control, the Drive and Blend controls can be utilized to get an effective range of tones from clean to overdriven. As one test, I set the Drive to its maximum, clockwise value and varied the Blend control. At each measurement, I looked at distortion products produced by the signal and compared those distortion products to a scope view of the corresponding output. These outputs can be seen in Figs. 11A, 11B Blend full off (counterclockwise); Figs. 12A, 12B Blend at the 9:00 position; Figs. 13A, 13B Blend at noon (center) position, Figs. 14A, 14B, Blend at the 3:00 position, and Figs. 15A, 15B Blend at the full on (fully clockwise) position. Note that the distortion products increase in a predictable, linear stair-step manner and the scope shows a soft gradual rounding of the peaks. This demonstrates a stable and smooth transition from clean to overdrive. Of course, there is not enough room in this review to show all of the combinations of Drive and Blend. Output Power The output testing of this amp suggests that this amplifier sits squarely on its rated mark. Given the soft limiting of this amp (remember, we have a tube dedicated to the limiter circuit), as we pushed the amp in and out of clipping on the bench, we noted that it behaved in a very tube-like manner, favoring color over squeaky-clean signal processing. We found that somewhere between 5% and 6% THD+N is where the onset of hard, rail clipping occurred. At this point, at 8 ohms, we measured about 300 watts continuous, 305 watts burst at 5% THD+N. Pushing the amp towards 6% THD+N yielded about 344 watts continuous, with 371 watts burst at 8 ohm. Dropping to 4 ohm, we measured 593 watts continuous, 689 burst at 5% THD+N, creeping up to 600 watts continuous, 709 watts burst at 6% THD+N. Compressor The compressor in this amplifier deserves special attention. It is rare that we see a compressor of this complexity, implemented with such a simple control interface. You have two bands, Low and High. The compressor is sort of a combination cross-over (that splits the signal at just under 1kHz), multiple compressors, and a mixer, all rolled into one. The bass signal is split into two bands, Low and High. Each band is separately compressed and the result is mixed back together. Why do this? A single-channel compressor has to deal with tradeoffs in attack and release over a wide range of signal. This can lead to either too much squash, distortion on the bass notes or other artifacts, depending upon implementation and settings. By separating high and low frequencies, each band can have its own attack and release characteristics that better suit the requirements of that frequency range. In simple terms, the Low control adjusts the amount of compression applied to low frequencies and the High control adjusts the amount of compression applied to high frequencies. However, to make your life easy, each control actually serves multiple purposes. Each control acts as a threshold, ratio and make-up gain control, all rolled into one. Referring to Fig. 16, I ran a frequency response sweep with the EQ flat and the compressor bypassed. This can be seen as the red trace. With the Compressor button engaged and the High Band and Low Band controls both counterclockwise, the trace is shown in blue. Note that there is a prominent low-end boost and a mild dip in the response just past 600Hz. Rotating the Low Band control fully clockwise and the High Band control still fully counterclockwise, the response is shown in green. Note that the low end below 600Hz levels off and smooths out. Returning the Low Band fully counterclockwise and turning the High Band fully clockwise, the response is shown in black. Note that the center frequency shifted slightly to just under 900Hz, and there is a significant reduction in the high frequencies. Setting both the High Band and Low Band controls to fully clockwise, the result is shown in orange. Again, turning up the Low Band control smooths out and reduces the gain. Referring to Figs. 17A-17E, I set up a 200Hz burst signal, set the High band off and varied the Low band from off to full-on in five steps. The red trace is the normal, uncompressed baseline trace. With regard to Fig. 17A, note that when both High and Low are off, there is some amount of compression. In Fig. 17B (Low at 9:00), and to a lesser degree in Fig. 17D (Low at 3:00), we see a slight anomaly, as the compressed signal leads the clean signal. Comparatively, Figs. 18A-18E show the sweep of the High control. There was a slight amount of phase shifting at each setting of the High control. However, note the staggering amount of compression on tap. I would not think of this circuit as just a compressor. I would think of this section more as a tone-shaping tool. For instance, the flexibility of this compressor circuit can be used to raise overall apparent volume (by using light amounts of compression to level off the signal allowing the overall level to come up), to provide an evenness to playing (act as a traditional compressor), as an effect (such as by setting one or both bands to extreme settings), and as a way to alter the overall tone of the amplifier (by setting one compressor band to a more extreme setting than the other). Conclusion This amplifier really packs a lot for a deceptively simple front panel interface that glows green. You get impedance options, a true tube drive circuit, fixed and variable tone controls, a two-band compressor, effects loops and a powerful amplifier easily capable of 600 watts of output power, with bursts towards 700 watts. That is pretty cool. I also want to mention that I really do appreciate the extra effort that went into the owners manual. Rarely, do you see such efforts to be complete, informative, and educational. First, the amplifier is explained fully. Next, a troubleshooting section is provided. Then, suggested settings are listed. Schematics are provided, and technical specifications are listed. Finally, a glossary of terms is provided. The addition of a glossary is a cool value-add. CAB LAB Trace Elliot 1028H This cab feels solid and features a very nice, heavy duty steel grill, which has a gloss black powder coating. The grill is held in place by seven wood screws, and secured up against two rails, with gasket tape between the rails and grill. There were no rattles at all with this setup. The enclosure is covered in Trace Elliots signature tolex covering, and has chrome metal corners (non-stacking type). There are four large, wide rubber feet on the bottom (horizontal configuration only). Large, recessed metal handles (with a slight matte finish) are found on the sides of the enclosure. The enclosure itself is made from ¾ lightweight poplar plywood, which helps the 1028H achieve a fairly reasonable 62.2 lb weight. There was no batting material visible. The drivers are custom Celestions, with ceramic drivers. These drivers are held in place by four star-head bolts, mated to threaded inserts. The phenolic hornloaded tweeter is the same kind that Trace Elliot has been using for 20+ years, and it is secured by four Philips-head bolts, also with threaded inserts. Neither the driver nor the horn had gasket tape applied beneath the mounting frame. The wiring was of heavier than normal gauge, and seems neat and secure. Trace Elliot ships all of their combos and enclosures with a (nonpadded) stitched nylon cover. They look nice, but the fit on the 1028H was exceptionally tight, and the fit on the 1210 was very loose (and seemed to be made way too deep for the combo). Its nice that they include them, though. A speaker cable with Speakon® terminations is also included.

Edited August 5, 2016 at 06:10 PM by kascollet

[Aqntbghd]

Destockage Trace chez Thomann!

https://www.thomann.de/fr/trace_elliot.html?ref=search_prv_0_2

Bon ensuite le prix d'origine est complètement délirant aussi quand meme, plus de 2000€ pour un combo de 500W c'est n'importe quoi, pour ce prix tu as bcp mieux si tu cherches un peu

[Frantobass]

Bon ensuite le prix d'origine est complètement délirant aussi quand meme, plus de 2000€ pour un combo de 500W c'est n'importe quoi, pour ce prix tu as bcp mieux si tu cherches un peu

D'ailleurs, le 1210 est partout ailleurs moins cher aussi, et on le trouve dans les 1200 à 1500... Mais ça reste une sacrée affaire tout de même!!!!

[Lonewolf]

Craqué pour un 1215 aussi.

Ca sent la fin des haricots pour la marque ça, ça déstocke chez Thotho, plus dispo même en commande chez les autres, pas de news depuis un moment (alors que Peavey (proprio de Trace) a renouvelé sa gamme l'an dernier avec une Headliner qui a quand même des specs assez proches d'une trace ...

[oyezoyez]

Ca sent la fin des haricots pour la marque ça, ça déstocke chez Thotho, plus dispo même en commande chez les autres, pas de news depuis un moment (alors que Peavey (proprio de Trace) a renouvelé sa gamme l'an dernier avec une Headliner qui a quand même des specs assez proches d'une trace ...

Voilà une explication qui semble plausible... ils ont en effet l'air d'avoir déjà réduit les effectifs (au moins en com !).

Du coup, soit les Trace ne vont plus rien valoir, soir leur cote va grimper. Faites vos jeux.

[timbogert33]

Mon combo GP7SM de 1994 fonctionne encore super bien, à part quelques crachouillis en appuyant sur les poussoirs de pre-shape.

Le son est toujours là, aussi puissant qu'aux premiers jours.

Ensuite l'acheteur qui veut vraiment du Trace Elliot se tape de la surcote ou de la décote..

Aimant cette marque je pense craquer pour le combo 715X. A moins de 400 euros en neuf cela vaudra le même prix en occaz d'ici quelques années je pense. Du moins en ce qui concerne je le répète, les amoureux de cette marque.

[brutalover]

https://www.leboncoin.fr/instruments_de_musique/1001881863.htm

Une très bonne connaissance à moi vend une EBS Metaldrive à 50€ sur Rouen, s'il y a des intéressés, je peux faire le relais sans soucis!

[phebert]

Moi qui cherche à invertir dans un combo pour ma jazz bass - est ce que c'est vraiment bien Trace Elliot ?

J'étais plutot parti pour un Marckbass ou Ampeg mais vu les promo je me laisserais bien tenter

Qu'en pensez vous ?

[shaka38]

Et un 1215 commandé....

[Lonewolf]

Moi qui cherche à invertir dans un combo pour ma jazz bass - est ce que c'est vraiment bien Trace Elliot ?

J'étais plutot parti pour un Marckbass ou Ampeg mais vu les promo je me laisserais bien tenter

Qu'en pensez vous ?

Déjà Markbass et Ampeg c'est pas vraiment la même chose et Trace c'est encore une autre voix.

Toujours est il que c'est de la bonne came, solide et qui sonne, mais ce n'est pas vraiment le son à la mode, même si cette dernière série dispo chez Thomann a été Peaveyisé

[FunkDaFied]

Trop bonnes les affaires

C'est dur de résister.

Raison quand tu nous tiens.

Comparé au 1210 le 1215 est-il clair. Pas brouillon ?

Edited August 6, 2016 at 05:29 PM by FunkDaFied

[Docdoc]

Déjà Markbass et Ampeg c'est pas vraiment la même chose et Trace c'est encore une autre voix.

Toujours est il que c'est de la bonne came, solide et qui sonne, mais ce n'est pas vraiment le son à la mode, même si cette dernière série dispo chez Thomann a été Peaveyisé

Je ne pense pas que ce soit une question de mode...C'est surtout que Trace Elliot "n'existe plus" depuis qu'il a été revendu (L'un des ingénieurs a créé Ashdown après la vente de Trace).

Edited August 6, 2016 at 08:06 PM by Docdoc

[arkhon]

Une superbe Rick 4001 blanche de 82 à 1500€ chez bassdirect (avec case ric neuf) :

http://www.bassdirect.co.uk/bass_guitar_specialists/Rickenbacker_4001.html

Edited August 8, 2016 at 06:52 AM by arkhon

[tombass1]

Une superbe Rick 4001 blanche de 82 à 1500€ chez bassdirect (avec case ric neuf) :

http://www.bassdirect.co.uk/bass_guitar_specialists/Rickenbacker_4001.html

ça a l'air pas mal ce site Il y a des frais en plus, style douane, à rajouter?

[arkhon]

Tant que le brexit n'est pas effectif, je pense pas :-)

[Aqntbghd]

ça a l'air pas mal ce site Il y a des frais en plus, style douane, à rajouter?

C'est un magasin sur rue en Angleterre, si tu passes dans le coin c'est pas mal d'y faire un tour. Inversement si tu as des problèmes de GAS, vaut mieux ne pas y aller pour éviter un accident bête ;)

[bassmanklm]

ça a l'air pas mal ce site Il y a des frais en plus, style douane, à rajouter?

Il me semble que tu es très sujet au GAS (comme beaucoup d'entre nous ici ) : évite autant que possible de le fréquenter !

[nightmarica]

ca fait pas cher en effet, maintenant sur la photo j'ai l'impression que les frettes sont un peu rinçées,ce qui expliquerai le prix car faire refretter une rick avec le binding et la touche la vernie tu en as pour 300/350eur mini je pense. et tu es a 1850eur de suite. a voir ce qu'il en est du truss road aussi. plus les frais de port.

Pour avoir cherché un moment une rick vintage en bon etat, faut faire gaffe les gens n'ont aucune honte a vendre des basses en sale etat en se disant qu'avec l'effet Rick ca passera. c'est un des modeles ou il peu y avoir pas mal d'embrouilles vu qu'il y a des sous et du prestige derriere. (un peu comme les Findus classiques)

Beaucoup de fois apres avoir posé des questions je me rendais compte que soit il fallait refaire le frettage, ou alors les mecas n'etaient pas au top, ou le truss, ou des pieces n'etaitent pas d'origine. bref bien bien demander d'abord.

Edited August 8, 2016 at 10:53 AM by nightmarica

[Shin]

Ouai enfin aucun risque avec Bassdirect, ils sont très sérieux. Si il y a des modifs ou autre, ils le précisent.

[nightmarica]

Si il ny a aucune embrouille alors clairement superbe affaire car sans doute une des toutes premieres 4003 vu qu'il ny a pas encore le pickguard en deux parties typique des modeles 1983. et a ce prix la on peut meme se permettre de se faire monter le bouton push pull pour avoir au choix le son 4001 ou 4003.

[bipbip62]

Bass direct: je recommande !!

Site très sérieux, facture, réponse dans la journée, pas de frais de douane et des frais de port rikiki

Et en plus, ils te proposent de faire transiter l'argent par "transferwise" ce qui limite fortement les frais de change pratiqués par certaines banques

Si certains sont intéressés, je peux les parrainner et on gagnerais un bonus tous ensemble...

Edited August 8, 2016 at 01:01 PM by bipbip62

[Djooh]

Je pulsion pour Bassdirect, ultra sérieux y'a pas d'embrouille avec eux, tu connaissais pas tombass ? j'suis étonné...

[Benjea]

On l'a trouve à combien un rick comme cela d'ordinaire ?