The Trace Elliot V-type Club!!

[Wasnex]

Here is a pic of my rigs. V8 and a V6 wearing a V8 Grill for improved airflow. Just need to garb another Berg NV cab and the rig is complete. A collection of all tube goodness heree for sure!

Love to hear your comparison between the V8 and V6.

IMHO the V6 has incredible fat and lush lows with a lot of focus, but more of a baked in mid scoop. The V8 is a bit more open and transparent, but slightly leaner and woolier down low in comparison. The V8 seems to have just a touch more headroom. Both are noticeably louder than my SVTs.

 

[Microbass]

Would hate to be shelling out for w retune for that collection!!
Been a while since we’ve seen a V8 out and about. I love it, they look so menacing.

 

[Bigbri]

Here is a pic of my rigs. V8 and a V6 wearing a V8 Grill for improved airflow. Just need to grab another Berg NV cab and the rig is complete. A collection of all tube goodness here for sure!View attachment 3327228

And of course an SVT. I've been told to get a NV for my V6 are they a good match? Where did you get the V8 grille?
I have a 69 B15N which i love too. I can't ever remember using a SS amp.
Whats in the rack?

 

[Bigbri]

Love to hear your comparison between the V8 and V6.

IMHO the V6 has incredible fat and lush lows with a lot of focus, but more of a baked in mid scoop. The V8 is a bit more open and transparent, but slightly leaner and woolier down low in comparison. The V8 seems to have just a touch more headroom. Both are noticeably louder than my SVTs.

Everytime I read a description of the V6 it is exactly right on. That is exactly how I would describe mine. It's one of those amps where it is the first thing you notice. Can't miss that. I wish I had a bit more mid control like on the SVT.

 

[Rockbobmel]

Do you like the Berg NV cabs the best?

 

[WalWarrior]

I do like the NV Berg cabs best. The V8 grill I purchased from British Audio Service. The huge 18 RU Road rack is comprised of (Bottom up) a Mesa 400+, then a 3 space puller fan, then a vintage ART Nightbass system, then another Puller fan, then a 31 band eq, then a Alembic F-1X Preamp, then a korg tuner, and finally to protect it all a Furman AR-1215 unit. This rig connects to two Mesa Road ready cabs that kick some major butt. This was the same type of setup Macca used on his 2010 US Driven Tour.

 

[WalWarrior]

And of course an SVT. I've been told to get a NV for my V6 are they a good match? Where did you get the V8 grille?
I have a 69 B15N which i love too. I can't ever remember using a SS amp.
Whats in the rack?

If you click on the pic to enlarge it, you can see the rack components.

 

[Wood and Wire]

It's entirely possible I've already asked this question (perhaps in this very thread), and failed to notice / forgotten the answer, but ;

Has anyone done a direct A/B comparison of Trace Elliot V6, or V8, and the Ashdown CTM-300?

There's obviously some common heritage, and overlap - but does that extend to their tonality, and "size" of their sound?

 

[Wood and Wire]

Heads up folks!

There's a V-Type 1248H bass cabinet going for £50 in the UK right now, over on the auction site.

 

[Wasnex]

It's entirely possible I've already asked this question (perhaps in this very thread), and failed to notice / forgotten the answer, but ;

Has anyone done a direct A/B comparison of Trace Elliot V6, or V8, and the Ashdown CTM-300?

There's obviously some common heritage, and overlap - but does that extend to their tonality, and "size" of their sound?

I compared the V6 and V8 in post #601. Here's my review of the CTM300: CTM 300 Review and Operation

I also own an Ashdown Small Block 427 and IMHO it's closest to the V8, but doesn't have the OD channel.

 

[Wood and Wire]

I compared the V6 and V8 in post #601. Here's my review of the CTM300: CTM 300 Review and Operation

I also own an Ashdown Small Block 427 and IMHO it's closest to the V8, but doesn't have the OD channel.

Thanks - what I was failing to convey was, either of the Trace V's versus the Ashdown, in a head to head.

From your review of the CTM-300 (and your comments about the Small Block 427), I get the impression that it's nothing like either the V6, or V8.

I have to say, I'm a little surprised by Ashdown in that regard, but anything that encourages Trace Elliot to eventually reissue these Valve amps, at some point in the future, is welcome.

 

[Wasnex]

Thanks - what I was failing to convey was, either of the Trace V's versus the Ashdown, in a head to head.

From your review of the CTM-300 (and your comments about the Small Block 427), I get the impression that it's nothing like either the V6, or V8.

I have to say, I'm a little surprised by Ashdown in that regard, but anything that encourages Trace Elliot to eventually reissue these Valve amps, at some point in the future, is welcome.

You could probably imagine an evolution from V6 to V8 to 427. The CTM300 is voiced significantly different than the other three. Stronger low mids and less highs. The 427 was intended to be super clean and huge sounding. I think the CTM300 is optimized more to produce over driven tones, so it goes in a new direction.

If you were to look at the schematics, the architecture of the preamps share a lot of similarities across all four amps, but the component values in the tone stacks are different. Also there are some components in the CTM300 that I believe drain off more of the highs. It's the darkest voiced tube amp I have ever played. The CTM300 would be closest to the V6, but I wouldn't say they are very similar. The V6 has bigger lows and also a lot more high end than the CTM300. The V8 has a bit leaner lows, but it is the most open and transparent in the mids.

Keep in mind that the CTM300 and CTM100 use 12DW7s in the front end of their preamp. The V6, V8, and 427 use 12AX7s. Looking at the CTM schematic, I believe this really only effects the input of the amp. So I am not certain the tube type makes much of a difference in the voicing. If you don't know, a 12DW7 is half a 12AX7 and half a 12AU7. Different names/subs for 12DW7 include ECC832 and 7247.

An interesting difference between the Ashdown and Trace output sections: Ashdown uses an ultra-linear configuration with 5 taps on the output transformer instead of the normal 3. I don't know if the ratio's used in the taps qualify these amps as true ultra linear though....that's a bit over my head.

I think the V6 has the voicing I like the most, but it's probably the least versatile. The CTM300 is probably capable of the widest variety of sounds, but the tone controls can be very frustrating and unintuitive. IMHO start with the controls at 9 o'clock and keep them between 7 and 11 and they work pretty well. It's really an awesome amp if you like the tones it produces.

 

[Wasnex]

@Wood and Wire If you are in the US and interested, Trace Elliot V6 1996 Green/Black | Tonehenge That's a fair market price in my opinion for a healthy V6.

A few years back, V-Types popped up fairly frequently in Europe. I did a road trip from Germany to Belgium to pickup one of mine.

If you have specific questions that I have not answered, let me know.

 

[Wood and Wire]

You could probably imagine an evolution from V6 to V8 to 427. The CTM300 is voiced significantly different than the other three. Stronger low mids and less highs. The 427 was intended to be super clean and huge sounding. I think the CTM300 is optimized more to produce over driven tones, so it goes in a new direction.

If you were to look at the schematics, the architecture of the preamps share a lot of similarities across all four amps, but the component values in the tone stacks are different. Also there are some components in the CTM300 that I believe drain off more of the highs. It's the darkest voiced tube amp I have ever played. The CTM300 would be closest to the V6, but I wouldn't say they are very similar. The V6 has bigger lows and also a lot more high end than the CTM300. The V8 has a bit leaner lows, but it is the most open and transparent in the mids.

Keep in mind that the CTM300 and CTM100 use 12DW7s in the front end of their preamp. The V6, V8, and 427 use 12AX7s. Looking at the CTM schematic, I believe this really only effects the input of the amp. So I am not certain the tube type makes much of a difference in the voicing. If you don't know, a 12DW7 is half a 12AX7 and half a 12AU7. Different names/subs for 12DW7 include ECC832 and 7247.

An interesting difference between the Ashdown and Trace output sections: Ashdown uses an ultra-linear configuration with 5 taps on the output transformer instead of the normal 3. I don't know if the ratio's used in the taps qualify these amps as true ultra linear though....that's a bit over my head.

I think the V6 has the voicing I like the most, but it's probably the least versatile. The CTM300 is probably capable of the widest variety of sounds, but the tone controls can be very frustrating and unintuitive. IMHO start with the controls at 9 o'clock and keep them between 7 and 11 and they work pretty well. It's really an awesome amp if you like the tones it produces.

Thanks, interesting stuff.

I'm certainly more interested in the Traces, than the Ashdown - but you never know...

Both are just idle fantasies at the moment, and I already have several tube amps that only get occasional use - would be a crime to do that to a V4 / V6 / V8.

 

[Wood and Wire]

@Wood and Wire If you are in the US and interested, Trace Elliot V6 1996 Green/Black | Tonehenge That's a fair market price in my opinion for a healthy V6.

A few years back, V-Types popped up fairly frequently in Europe. I did a road trip from Germany to Belgium to pickup one of mine.

If you have specific questions that I have not answered, let me know.

Thanks!

I'm back in the UK these days, so if I were looking, it would be this side of the Atlantic (and this side of Brexit, ideally).

I do, very slightly, regret not pouncing on a V-type stack, a couple of years ago.

It was one of the hybrid heads, with the 8x10 cab, and was only about £250.

It had been used as back line for the 2005 Live 8 concert in Hyde Park, and signed in silver permanent marker by a bunch of the acts - but of course, none of the acts that would have increased it's value ; just the ones that nobody remembers, or everyone hates.

It had subsequently been donated to a school in London, and they wanted to shift it, to make some space.

That was a stupid price, and I probably should have bought it - but I couldn't justify another huge stack, taking up more space, or the look of horror on my band mates faces. I also couldn't be bothered with the dilemma of removing the signatures, or maintaining a "piece of history", I seem to remember it was Rat-fur (which is an absolute no-no, in my book), and I just couldn't be bothered with the hassle of trying to flip it.

Somebody got a real bargain there - I hope they're enjoying it.

 

[Wasnex]

Thanks!

I'm back in the UK these days, so if I were looking, it would be this side of the Atlantic (and this side of Brexit, ideally).

I do, very slightly, regret not pouncing on a V-type stack, a couple of years ago.

It was one of the hybrid heads, with the 8x10 cab, and was only about £250.

It had been used as back line for the 2005 Live 8 concert in Hyde Park, and signed in silver permanent marker by a bunch of the acts - but of course, none of the acts that would have increased it's value ; just the ones that nobody remembers, or everyone hates.

It had subsequently been donated to a school in London, and they wanted to shift it, to make some space.

That was a stupid price, and I probably should have bought it - but I couldn't justify another huge stack, taking up more space, or the look of horror on my band mates faces. I also couldn't be bothered with the dilemma of removing the signatures, or maintaining a "piece of history", I seem to remember it was Rat-fur (which is an absolute no-no, in my book), and I just couldn't be bothered with the hassle of trying to flip it.

Somebody got a real bargain there - I hope they're enjoying it.

The series I V-Type cabs I remember were a sealed 1248 and 1248H, a ported 1528, and a sealed 1084...all three were covered in green rat fur to match the cosmetics of the series I V4 and V6. See this post The Trace Elliot V-type Club!!

I've also seen a series II 1048 that was covered in Tolex to match the series II V8 and V4 cosmetics. See this post: "Best" Trace Elliot cabs

 

[Microbass]

Everytime I read a description of the V6 it is exactly right on. That is exactly how I would describe mine. It's one of those amps where it is the first thing you notice. Can't miss that. I wish I had a bit more mid control like on the SVT.

Would it be fair to say the V4 Mk1 is the same as the V6 tonally?

Heads up folks!

There's a V-Type 1248H bass cabinet going for £50 in the UK right now, over on the auction site.

Saw this the other day. I'm sure that should turn out to be a bargain... I just really don't need a 4x12!

Thanks!

I'm back in the UK these days, so if I were looking, it would be this side of the Atlantic (and this side of Brexit, ideally).

I do, very slightly, regret not pouncing on a V-type stack, a couple of years ago.

It was one of the hybrid heads, with the 8x10 cab, and was only about £250.

It had been used as back line for the 2005 Live 8 concert in Hyde Park, and signed in silver permanent marker by a bunch of the acts - but of course, none of the acts that would have increased it's value ; just the ones that nobody remembers, or everyone hates.

It had subsequently been donated to a school in London, and they wanted to shift it, to make some space.
...

Somebody got a real bargain there - I hope they're enjoying it.

I remember that cab! If I', right in thinking, originally it was listed for £999...

I do have a lead on a VA350 in Glasgow, I'm so very tempted; but again, I have no real need for something that powerful/big. Doubt it'll be going anywhere anytime soon, but the guys are after a bit too much imo for its condition. PM me if anyone is interested and I'll happily share the details.

 

[Wasnex]

Would it be fair to say the V4 Mk1 is the same as the V6 tonally?

The V4 and V6 sound virtually identical; the V6 just has a bit more headroom. This should be no surprise, the amps use the exact same circuit cards. The V6 just has a few added components for the two extra output tubes, and also the transformers are different.

Here are gut shots of the V4 and V6 so you can see.

 

[disssa]

Holla, it is a inside shot of my (ex-) V6!
Here is one inside view with a better quality: Invalid Link Removed
And yes, the V4 MKI and the V6 sound identical.

 

[Microbass]

The V4 and V6 sound virtually identical; the V6 just has a bit more headroom. This should be no surprise, the amps use the exact same circuit cards. The V6 just has a few added components for the two extra output tubes, and also the transformers are different.

Here are gut shots of the V4 and V6 so you can see.

View attachment 3339424 View attachment 3339425

I think I've asked you this before, did your V6 come stock with the chrome knobs?