Trace Elliot 1210

Recessed into the front panel above the speakers is the heart of this combo: the amp and 12-band graphic. Starting from the left-hand side, there is a single input jack partnered by an attenuation switch providing high- or low-impedance options, while a rotary control governs input gain, with LEDs offering visual confirmation. Trace Elliot's 'signature sound' is represented via a Pre Shape switch, which, in essence, automatically cuts mids while boosting bass and treble.

As with all the Trace amps, this model comes with valves on board, namely a set of ECC83 and 12AX7 bottles. The former delivers overdrive, which then cascades through to its partner for the output stage and anti clipping. This is added to the circuit via a Valve switch accompanied by a Drive control, which determines the amount of signal sent to the valves, while a Blend pot mixes the results with the normal (dry) sound. The characteristic Trace graphic equaliser sits centre stage on the front — in this case the 12-band version, with 15db cut or boost available for each of the specially selected frequencies that the company consider ideal for bass guitar use.

Next in line is a dual-band, soft-knee compressor with controls for Low/High Band filters, plus an on/off switch. Following on from there are Loop and Mute buttons, and finally a pot controlling overall output. The latter is accompanied by a multi-function LED, which monitors amp clipping, flashes when mute mode is operational and also acts as a general warning indicator for power amp overheating, short-circuit or over-current protection.

The rear panel of the 1210 combo carries a Speakon socket to add an extra cab, plus a standard jack socket to which the two 10s are connected via a 90-degree plug. These are followed by the Balanced DI Output section, which consists of a ground lift switch and three XLR sockets labelled Left, Right and Pre-EQ. The first two supply the signal after all front panel functions, while the third delivers the pure bass sound paralleled from the input pre-EQ or any effects. Below are two unbalanced line out jacks and a tuner feed, followed by six effects loop sends and returns. Low and High Pass supply the respective frequencies from the compressor, and Full forwards an appropriately full-range signal. Under these outs are the relevant ins, with Left, Mono and Right accompanied by a Loop Level control to set overall signal strength when Loop is engaged.

Completing the rear panel connections are two eight-pin DIN sockets for the supplied BFC-6 foot controller, which allows remote operation of the Pre-Shape, Valve, Graphic, Compressor, Loop and Mute functions. Above the switches are six appropriate indicator LEDs, coloured to match those on the front panel. The usual mains socket and switch are also present, plus a pot to control the brightness of the backlighting on the front panel.

This combo houses two 10-inch (254mm) Kevlar impregnated speakers, specially designed by Celestion, wired to 8Ω, while adding another 8Ω cab via the Speakon socket drops the impedance down to 4Ω, at which stage the amplifier then produces 500W. There is also a phenolic, horn-loaded dome tweeter controlled by a three-position attenuating switch that's situated in a recessed panel on the back of the combo, and this has a Low, High or Off option.

Plugging straight in with the horn off produces a hard, middly tone that is really difficult to move away from. Engaging the Pre-Shape facility changes this to a much more 'workable' sound, rather than the classic Trace tone. From here, adding various degrees of drive and compression just seems to cloud the issue, rather than producing the really good tones that should be on offer here. As usual, the Trace Elliot graphic picks out just the right frequency spots, rather than being mathematically spread over the whole spectrum. Adding the horn produces a much wider variety of sounds, but still with the mid overtones. All of these inconsistencies disappear when I disconnect the speaker and plug the amp section straight into my Trace Elliot 4 x 10 cab. Now all the nuances of tone return with full bottom end, a balanced mid-range and the crisp highs that are expected of the marque.

With a bit of work there are good tones to be had from the 1210 combo, but this requires some fairly drastic adjustment on the bass guitar. Adding a lot of bass and treble and slicing out the mid produces what I would call a standard 'flat' tone and from here the unit does work well, but as a reference point it is way off base.