See the video review of the Trace Acoustic TA200 Amp

At a Glance

The Specs:
200 watts. Four five-inch neodymium Celestion speakers. Two channels. ¹/₄-inch input with piezo switch (for ultrahigh-impedance input) and low and high trim controls on channel one. XLR/¹/₄-inch combo input with phantom power on channel two. Gain, notch filter, autocompressor, phase, and shape switches for both channels. Separate reverb control for each channel. Channel one effects include chorus, phaser, flanger, tremolo, and delay. Six-band graphic EQ with Feedback Locating System. Master volume and mute switch. Tuner output, left and right preamp outputs, and two DI outputs.15 inches x 17 inches x 12 inches. 20 lb.

This Is Cool:
Tremolo in an acoustic amp!

Watch For:
Delicate graphic EQ sliders.

Price:
$1,699 list/$1,249 street.

Maker:
Trace Elliot: (601) 486-2255; traceelliot.com.

Trace Acoustic TA200 Amp Review

In 1989 the English company Trace Elliot, which was known for its electric bass amplifiers, became one of the first companies to create an amplifier designed exclusively for acoustic guitarists when it introduced a line of Trace Acoustic amplifiers. This year Trace Elliot is celebrating its 30th anniversary with an updated series of Trace Acoustic amplifiers, including the TA100, TA200, TA300, and TA400. To check out the TA200 that we received for review, I played my Martin 000-28EC with a Fishman Ellipse Blend system (piezo pickup and internal mic), a National Style O resonator with a Highlander pickup, and a Fender Stratocaster.

PUNCHY MIDRANGE, EFFECTIVE EQ

The TA200 is a 200-watt, two-channel amp that will provide plenty of volume for a solo guitarist/vocalist playing a small- to medium-size venue. The top half of the cabinet’s face is angled so that two of the four speakers point slightly upward, which will help direct sound upward and outward if you have to rest the amp on the floor. The main controls are situated between the two pairs of speakers and outlined in chartreuse, allowing you to see the knobs and sliders in the dark.

Equipped with a six-band graphic EQ in its master section (it affects both channels), the amp offers extensive tone-shaping options. As a unique touch, Trace Elliot’s Feedback Locating System includes red LEDs above the EQ’s sliders that identify the source of any feedback, allowing players to notch the offending frequency until the feedback is gone. Additionally, channel one has dedicated low- and high-trim dials, and a “shape” button that dials in a preset EQ curve—a high- and low-end boost and a midrange cut. I got the most-pleasing acoustic-guitar sound on my Martin with a slightly scooped midrange on the graphic EQ that reproduced my fingerpicked blues songs and strummed pop tunes with equal aplomb, giving the subtle nuances of gently picked notes a rich texture and keeping brash strums from being overpowering. I got a very natural sound for the National by adjusting the low and high trim to about 10 o’clock and leaving all the graphic sliders flat.

While I loved the effectiveness of the graphic EQ, which allows you to hone in on the frequencies that will work with the different rooms you perform in, it did have a couple of minor drawbacks. Since the graphic EQ affects both channels, if, for example, you dial in a really great guitar sound on channel one with the two trim dials and graphic EQ, you’ll have only one dial (a notch filter) to adjust the tone on the second channel, which would usually be used for a vocal or other instrument and may require a different EQ treatment than channel one. In addition, the sliders on the EQ seem a little delicate.

The amp is able to reproduce a large dynamic range, with very good lows and highs and a midrange that gives the sound a lot of punch. The built-in soft-knee autocompression is a useful addition for aggressive players; when you strike the strings hard, instead of getting a harsh clipped sound, the soft knee brings the sound softly back to earth.

LUSH EFFECTS, COOL TREMOLO

One striking feature of the TA200 is its lush effects. Reverb can be added to either channel, while flange, chorus, phase, tremolo, and delay effects can be used on channel one. In addition to a fat reverb, the chorus and flanger sound great, providing glassy, lush Andy Summers–ish sounds. One effect you don’t see very often on acoustic amplifiers is tremolo. Tremolo, which was included on early Fender amps, where it was often called vibrato, is a pulsating shift in volume that can be adjusted to match the tempo of the song you’re playing and makes your guitar sound rather spacey. The tremolo on the TA200 emulates the rich sound of the early Fenders quite remarkably. I plugged my Stratocaster into the amp, turned the reverb and tremolo up, while pushing the midrange on the graphic EQ, and felt like I was playing through my Fender Super Reverb amp. While the TA200 doesn’t quite have the warmth of a Fender tube amp, it did provide a nice clean sound for the electric guitar, allowing it to potentially do double duty for players who bring electric and acoustic axes to their gigs.

The TA200 also comes with a footswitch controller that allows you to select channel, shape, phase, effects, or tap (for delay) and includes a mute switch. A handy carrying bag has several pockets to hold the footswitch controller, cables, and other guitar necessities such as picks, strings, etc.

PORTABLE TONE SHAPER

The Trace Elliot TA200 is an ideal amp for gigging acoustic musicians who are looking for a portable, lightweight amp with effective tone-shaping capabilities and the ability to color their sound with some quality effects.