Trace Elliot Set
1x GP12SMX
1x 1048
Basic sound
Although the familiar basic sound of a TRACE ELLIOT preamp has been retained in the GP12SMX, you will also find an additional pallet of sounds readily available that cover many styles of bass playing. Most of these are available without the need for you to alter your favourite GRAPHIC setting.
Input blend
The INPUT BLEND control allows you to select the signal to drive the rest of the preamp from two entirely separate FRONT END circuits. One being a SOLID STATE circuit using an FET to provide a very high impedance input, the other being a VALVE stage, also providing a high impedance but in addition adding that something extra that only a valve can. Any mix of these two input stages can be selected using the INPUT BLEND control.
Pre shape
As well as the well known classic TRACE ELLIOT PRE SHAPE (SHAPE 1), a second fixed EQ has been added in the form of SHAPE 2. This is a more ROCK orientated PRE SHAPE with solid bottom end and more mid than SHAPE 1.
Altering the EQ
The GRAPHIC EQUALISATION section in this unit is based on the traditional TRACE ELLIOT 12 band design, and apart from minor improvements that have been made in the ‘Q’ or bandwidth at certain frequencies, this will perform exactly as the SERIES 6 units. The setting of this will therefore be familiar to those reading this QUICK GUIDE.
In place of the GRAPHIC BALANCE slider used in previous designs, we now have a simple GRAPHIC LEVEL control. This adjusts the level of the GRAPHIC section when selected by the front panel push switch or the foot switch, and should be set to give approximately the same overall level with the graphic either in or out.
EQ balance control
This is something very new in concept, and something that you will not be familiar with from any amplifier. As such it requires a short description of its function (a full description is given in the SOUND MANAGEMENT section later in these instructions).
Basically it is a very powerful new kind of tone control section on one knob. It can be thought of as a pivot point at the centre of the graphic about which the frequency response of the graphic may be swung. Turning to the right increases the top end and decreases the lower end of the graphic, whilst turning to the left has the reverse effect. You do not need to understand exactly how this is done to appreciate the power it gives you in instantly being able to transform your sound with one simple to operate knob.
Compression
TRACE ELLIOT have always avoided including compression in any of their previous amplifiers as the integrity of the bass signal has always been paramount in all designs. The reason for this is simply that any kind of FULL RANGE compression used on bass is always an unacceptable compromise. It cannot act fast enough to catch attack transients, and if it does then it distorts low frequency signals. If you have used any full range compression then you know what we mean.
The compression used in this unit has therefore been split into two entirely separate compressors, one optimised for LOW frequencies and one optimised for HIGH frequencies, but both individually adjustable by the user.
The LOW COMPRESSION and the HIGH COMPRESSION controls are located either side of the EQ BALANCE control. These three controls together we refer to as the SOUND MANAGEMENT section of the GP12SMX, as they work as a unit and provide such a vast variation to the bass sound.
As a QUICK GUIDE we would advise that full compression on either LOW or HIGH is never necessary except purely as an effect. LOW compression used on its own and set up to about halfway will really tighten up the bottom end and give excellent definition to bass runs. LOW compression past halfway with the EQ BALANCE turned a quarter left is excellent for really low reggae type bass. A small amount of both HIGH and LOW is good for those middly pumping bass lines.
The best way is to experiment bearing in mind that HIGH compression is very rarely needed as you will lose attack dynamics, and if your bass is active you will probably also emphasise the hiss coming from the instrument as well.
Line outputs
FULL RANGE STEREO line outputs are provided as well as the crossover STEREO HIGH PASS and LOW PASS line outputs.
Crossover
A stereo crossover with variable crossover frequency is built into the GP12SMX to provide BI-AMPING facilities. The HIGH PASS section is in stereo whilst the LOW PASS section is in mono.
D.I.
Three D.I. sockets are provided with all three being balanced outputs giving levels of signal to suit the LOW IMPEDANCE MICROPHONE inputs on a mixing desk. All three have GROUND LIFT facility for use on balanced inputs to eliminate any ground loops.
The PRE EQ D.I. is fed from before the GRAPHIC but after the PRE SHAPE, whilst the stereo POST EQ D.I.’s are after all EQ COMPRESSION and EFFECTS returns but prior to the output level control.
Ground lift
A GROUND LIFT switch is provided to lift the mains ground from the signal circuits and prevent a ground loop being formed between the pre amp and the power amp.
In flightcase.
