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There’s a wide range of controls in the software. Communication between Bias Amp and the Bias Head is bidirectional (moving a control in Bias Amp changes the value, though it doesn’t alter the position of the Head’s corresponding physical control).
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Once Bias Amp Professional or the iPad version is running, a USB- or Bluetooth-connected Bias Head will be recognised automatically. The user interface is functionally identical on both desktop and iPad versions, the only difference being that the controls for the Noise Gate and Room Control sit in pop-up windows on the iPad.
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And I could live with that.īut with the Bias Head you get a Redeem Code to activate a full (Professional) licence of Bias Amp. It also enables you to instantly save your changes to a preset. If computers aren’t your thing, you could look at the Positive Grid Bias Head as a stand-alone modelling amp with 25 presets, each with EQ, cab simulation and four interactive ways to modify the gain and distortion - there’s channel gain, preset choice, number of preamp valve stages, and type of output stage. Rather than switch the effect loop between series and parallel, as in a conventional guitar amp, this sets the slightly restrictive output routing of both the effect-loop return and the Bias Head’s cabinet simulator.
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The other switches between serial and parallel modes, turning its bi-colour LED and that of the cab Sim from red to blue as it does so. Two Utility toggle switches come next, one of which puts the footswitch inputs into calibration mode.
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After this lies the illuminated-when-on Wireless switch that turns on the Bias Head’s Bluetooth 4.0 transceiver, allowing you to connect an iOS device (iPod Mini, Air, Pro, 3rd generation or later) running the mobile version of the Bias Amp software.
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The B-type USB socket allows connection to a Mac (Mac OS 10.9 onwards) or Windows (7 SP1 onwards, or 8) computer, to use with Positive Grid’s Bias Amp Desktop Mac/Windows software and the iOS equivalent, and this enables you to program the Bias Head’s presets or to load emulations from your computer. Footswitch 1 is compatible only with I2C protocols for Positive Grid products, and footswitch 2 accepts only latching footswitches.ĭespite the guitarist-friendly styling, a bright blue light by the Bluetooth logo rather gives the game away that this is no normal amp! The speaker output (850W at 4Ω, 600W at 8Ω, and 300W at 16Ω) is joined on the bottom row by the MIDI out/thru/in connectors and the TRS jacks for footswitches 1 and 2. The back-panel I/O, also arranged in two rows, includes two sets of L-R line outputs (XLR and TRS jack) with switched ground lift, followed by a headphone output and the TS jacks of the mono effect loop, with its own switched ground-lift. The Custom knob can be programmed to carry out one of a range of functions, and, finally, there’s a cab simulation on/off toggle switch, with associated blue/red bi-colour LED. A rotary Power Amp control governs the chosen power-amp stage’s distortion. You can choose from: Single-Ended (tube Class A) Split Load (tube Class A/B with a split-load ‘concertina’ phase splitter) Push/Pull (tube Class A/B with a long-tailed pair phase splitter) and Solid State (transistor). Next comes a four-position switch that sets the power-amp topology. A Bright/Normal preamp voicing toggle-switch sits between them. The other modifies the overall level of distortion in the selected stages. Adjacent to these is a second pair of controls, the first of which switches in up to five cascading preamp tube stages. The upper row is less familiar territory: the first two knobs are five-position rotary switches, and these select between the five preset banks (Clean, Glassy, Blues, Crunch and Metal), and the five presets within each bank.
The single input jack sits on the left of the lower of two rows, and this hosts familiar gain, bass, middle, treble, presence and master controls, as well as a Modern/Vintage voicing switch.
Other than the global output level, the front-panel controls are all programmable.
And the result might appeal equally to the incessant tweakers and those who just want to plug and play.
Insanely tweakable, and promising the ability to mimic your own amp, could this be the last word in amp modelling?įor any guitarist, there’s a reassuring air of familiarity and class about the Bias Head’s black, grey and silver enclosure, but its front and rear grilles are purely cosmetic - inside lurks a 25-preset, deeply programmable combination of Positive Grid’s highly regarded Bias Amp software, the DSP to run it, and a 600W Class-D power amp.
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