Yes—and it'll also rattle windows with surprisingly full-sounding low end! The PG Trace Elliot Elf Combo review.
Very lightweight and portable. Simple but effective EQ. Size defying sound.
Light in hand, but not so much in price. No onboard effects.
$599
Trace Elliot Elf Combo
traceelliot.com
Recorded direct into Focusrite Scarlett 2i4 interface into GarageBand.
Clip 1: Schecter Banshee, picked. EQ flat with slight bass boost
Clip 2: Ashdown Saint, fingerstyle. Bass at 2 o'clock, mid at 11 o'clock, treble at 1 o'clock
Like it's standalone-amp cousin, this 200-watt combo houses controls for gain (with signal-level LED), a 3-band EQ, tone, and volume—all located topside along with 1/4" jacks for the input and headphone/line out. Around back lives an XLR out (with ground lift) and an additional speaker output. When I powered up the Elf with the EQ set flat, the mid-leaning amp filled up my high-ceiling room with an articulate and rich modern bass sound that made the old windows shake. After I bumped up both the bass and treble to 1 o'clock-ish and took a pinch from the mids, I got to a warmer, yet still punchy, tone I called home. The Elf has a deceiving amount of headroom for its featherweight build and can get loud. It also pushed an external 2x12 cabinet with ease and makes for a convenient silent practice and recording tool. (I appreciate the speaker on/off switch.) If you're after onboard effects, look elsewhere, but if a straight-ahead amp you can easily carry with one hand from bedroom practice to gigs to studio work and in between appeals, this combo may have some Elfin magic for you.
Test Gear: Schecter Banshee, Ashdown Saint, Orange OBC212, Focusrite Scarlett 2i4
Separate, stackable custom-voiced circuits make a strong and crunchy case for two being better than one.
Recorded direct into Focusrite Scarlett 2i4 interface into GarageBand.
Clip 1: Channel 1: gain 2 o’clock, tone 12 o’clock, level 1 o’clock. Channel 2 (engaged at :20 to :30): gain 2 o’clock, tone 11 o’clock, level 3 o’clock, freq 2 o’clock, sub level 4 o’clock.
Clip 2: Channel 1: gain 12 o’clock, tone 2 o’clock, level 2 o’clock. Channel 2 (engaged at :20 to :40): gain 12 o’clock, tone 3 o’clock, level 3 o’clock, freq 12 o’clock, sub level 12 o’clock.
RatingsPros:Dual distortion circuits. LED position markers. Variety of distortion flavors. Gain dials have balanced/even sweep. Cons: A bit pricey if both distortions aren’t being utilized. Street: $169 Fender Trapper Bass Distortion fender.com | Tones: Ease of Use: Build/Design: Value: |
In case you didn’t notice, Fender has been making a spirited splash with new pedal offerings these past few years—24 since 2018, to be exact. In aesthetic concert with its compadre stomps in the line, Fender’s Trapper Bass Distortion boasts a lightweight, anodized-aluminum chassis and LED-illuminated controls. Its standout feature, however, is that it runs two separate, analog distortion circuits. Both channels house tone, output, and gain knobs, but the second channel also features a pair of dials to manage the low-pass frequency and clean-output volume from the low-pass filter.
With channel 2 as my starting point, I found the sweet spot for some subtle, raspy grit with the gain and tone both set around noon. It’s a smooth and tight distortion with good response that I’d simply set-and-forget for a round of straight-ahead hard rock. Gradually increasing the gain for heavier flavors, I was steadily rewarded with a modern-leaning, pretty fierce crunch. While leaner with the gain maxed, wide open was still a very usable tone and not a soupy, suffocated mess. With the pedal’s higher-gain settings, the sub-level and frequency controls are there for fine-tuning the central sound and helping to maintain clarity and depth. The two channels are stackable, so there’s more control over the pedal’s gain structure and tone. The second channel is also an apt tool for those occasions we’re granted a solo, or for more aggressive sections of a song when a boost with an extra helping of distortion is needed. If you’re dual-dirt curious or simply interested in a fresh flavor of distortion, the Trapper is worthy of a look-see.
Test Gear: Gallien-Krueger 800RB, Orange OBC212, Focusrite Scarlett 2i4, Fender Precision, Schecter Banshee
Bassist Hondo Felder looks for the versatility factor.
I love pedals, of course, and find myself voraciously taking in as many demo videos as I can. They are my first go-to when a new pedal that catches my interest drops. Good demo videos give a full picture of what a unit can do, and even give me ideas of how to incorporate that effect into my own music. The musicians who make these videos are an important part of our community, and, in this two-part column, I would like to introduce everyone to some folks who I think are making some great content across multiple platforms.
First, a question: How often do we get a well-produced, feature-rich pedal demo for bass, instead of guitar? As a bass player, I can tell you: not often enough! Certain pedals just don’t let the tone of your bass come through. It’s a thing. However, it seems like nowadays, with doom being so hot, pedal-makers are designing more bass-friendly circuits. I also see an awful lot of musicians rocking baritone guitars as well as guitarists using multiple 6-strings in various states of down-tuning. For all of the above, there’s Hondo Felder.
Hondo’s videos are primarily geared toward the heavier end of things, and players who love the low end will really enjoy them. He is a self-professed “typical musician with a day job” who is anything but. Hondo is a bass player and audio engineer with an incredible amount of knowledge about all types of gear.
Hondo’s content focuses heavily on the features, different sound combinations, and stacking capabilities of the units he chooses to demonstrate. He uses different guitars with various pickup configurations, and often demos with synths and computer-generated sounds, which offers viewers a complete range of a pedal’s functionality in a very musical way. It also lets us hear and see other gear that we might not have previously considered looking into. It’s great to be able to experience what the versatility factor is for any effect or piece of gear.
I asked Hondo, who lives in San Francisco, how he got into making demos. “Since I moved out from the East Coast in 2015, I lost the ability to work with many of the musicians I’d developed relationships with over the years,” he explained. “That left me with a sizable hunger for creating original music with other people. After about four years, I managed to develop a new set of musical connections and started really getting back into gigging, writing, and recording. Of course, that meant G.A.S.! I went looking online for bass demos of pedals I couldn’t get my hands on and realized there aren’t a ton of bass reviewers out there. Those two things got me thinking that maybe I could make a channel where I use gear in a real mix—with normal playing techniques—and give people enough sound clips and impressions that they could make a gear purchase with confidence, without having the gear in their hands first. At the same time, I thought I could use the channel to build a network of like-minded artists without having to be subject to the confines of physical proximity.
Hondo Felder calls the Skitter reverb and tremolo “inspiration in a box.” See how it pairs with both guitar and bass in his demo.
“I plan to demo every pedal I own, and anything anyone loans or gives to me, so it’s more a matter of which ones I do first rather than which ones I will or won’t do,” Hondo continues. “I will say, though, that if I ever come across a piece of gear that I can’t say anything positive about, or don’t recommend people buying, I won’t demo it. I really want my channel to be a source of positivity and a place where people can come to chill and have conversations about gear, rather than bashing anything. That said, I do particularly love finding gear that is unknown, or not widely used on bass.”
You can subscribe to Hondo’s YouTube channel (look for HondoFelder) to see videos of Champion Leccy’s the Skitter, Mask Audio’s Black Math, and more. And in my February column, I’ll introduce you to two more of my favorite pedal demo creators.