TEST: Positive Grid Bias Rack

 First analogue, then digital, right? Didn't we all learn that? As soon as an amp has won its place in the analogue world and the maximum amount of marketing has been achieved, the software company XY comes along and starts the secondary exploitation in the form of algorithms that are supposed to come as close as possible to the original. In this way they want to save themselves the “analogue effort” in the form of transport, maintenance, storage, miking and volume control, so that the next guitar recording can, if necessary, be carried out in any station toilet. The last step on the ladder is sampling in the form of a Kemper preset, which corresponds to 99% of the original setting and is now the standard recording situation in professional studios.

The reverse approach was previously unknown to me, i.e. an established software emulation goes and develops an algorithm-based analog hardware amplifier, which brings the virtual amps primarily to the stage, or as an old-school miked version to the recording studio. This is exactly what the company Positive Grind has put into practice and, parallel to their head version, they have also launched the Positive Grid Bias Rack on the market. Wow, that's what I call an anti-establishment approach. I can already promise you one thing, you will be amazed!

conception

Rarely has the conception sub-department been as interesting as with the Positive Grid Bias Rack, as the approach is a highly interesting combination of classic potentiometer screws and state-of-the-art preset management. Right at the beginning, both the head and the rack variant have the same inner workings, the rack variant, on the other hand, can be screwed into the 19 inch rack, as expected, and is therefore easier to transport. And quickly get one more guess out of the way. Even if the Head variant has a lot of eyes on the photo gallery when it comes to the layout of colleague Kemper, the technical conception is completely different.

For now, we'll leave all the software mumbo-jumbo aside and focus on the amp right-out-of-the-box without worrying about all the possibilities. At this moment we have a 2 U rack amplifier in front of us, which comes up with a comparatively moderate weight of almost 7 kilograms. The amp, developed in the USA, is assembled in Taiwan and has an insane output of 600 watts RMS at 8 ohms or 300 watts at 16 ohms. Oh my gosh, these are performance data that we otherwise only know from Class D bass amplifiers and we already have another special feature on the screen. Yes, the Positive Grid Bias Rack can also be used for the electric bass, there is a separate database for it.

At this point at the latest, the reader will notice that this amplifier cannot possibly be a typical amplifier, possibly still based on all tubes. It doesn't either, it's more about amplifying as neutrally as possible a sound that the user has previously glued together from the classic components of preamp tubes, power tubes, cascading of the tubes, tube selection, transformer winding, equalizer and many other niceties. Of course, 600 watts for a guitar amp is hard to beat in terms of gigantism, but for a bass amp, such a power specification guarantees a headroom-rich sound. Therefore, be careful with the output controller.

front

"Output, how does that sound, are we in outgear country or what?" Well, yes, this control may seem a bit strange, but the rest of the front panel is also very familiar to the average guitar player. Gain, bass, middle, treble, presence and master are anything but software aliens, but established elements of tone shaping. The controls in the upper row, on the other hand, already show why the amp, which costs almost € 1,400, has much, much more to offer than what is apparent at first glance.

The short version: The amp has 25 different basic sounds, which are split into 5 different basic sounds (clean, glassy, blues, crunch, metal), each with 5 different amp models. After that, 5 different "Tube Stages" can be switched, which determine the degree of distortion and compression with a separate distortion controller for the 25 basic sounds, making 125 sounds in principle. After this, you can also choose whether you prefer the Solid State, Push Pull, Split Load or Single Ended versions of the power amp emulation (topology), together making about 500 different sounds. And that's just a fraction of the possibilities...

There is also a programmable custom control on the far right, which is factory-set to the noise gate. In addition, there are 2 mini switches above the headphone jack, which allow an individual assignment for 2 external foot switches.

back

The back of the Positive Grid Bias Rack also makes no secret of the fact that this is a kind of “guitar amplifier homunculus”. A single speaker out (there could have been 2 or more with these performance specifications) still maintains contact with the world of the stage, after which studio connections in the form of XLR and TRS take over the scepter. 2 different expression pedal inputs and an FX loop allow the connection of external pedals, a USB port allows direct connection to the DAW. Triple MIDI (In, Out, Thru) allows different footswitches and allows you to manage the sounds. But what is that? An antenna connector labeled "Wireless" on the back?

overkill

Anyone who has already gasped for air at the 500 sound possibilities of the front panel should better break off this article now and stop reading. The possibilities that open up in cooperation with an iPad and the Bias Amp app are beyond imagination. The Positive Grid Bias Rack establishes contact with the iPad via Bluetooth and then allows the sounds to be edited by a factor of 200. The app's interface is optically programmed in an excellent way and lets an undisciplined user immediately fall into a spinning and swapping mania.

Preamp and power amp tubes can be swapped, the tone stack topology of different amps can be imported and mixed, the grid voltage can be changed, the number of windings and the material of the output transformer can be determined and much more. If you now also take the speaker simulation via the XLR and studio outs for a direct feed for the P.A. or a DAW on board, the cabinet, speakers, microphone type and beam angle can also be determined. Sure, old hat, also has Logic and syndicates on board, but you should have a look at the difference in sound. All in all, according to the manufacturer, the Positive Grid Bias Rack should be able to produce over 100,000 different sounds, so if you don't have anything else planned for the summer...

Oh yes, with a function called Amp Matching you can do a little "Kemper for pedestrians" if you are interested. You take an amp model, which comes very close to your personal amp, samples a sound sample of your amp and lets the Positive Grid Bias Rack recreate the sound material. Depending on the source material, the result can really be seen. Nice examples can be seen on the Positive Grid website. Of course, you can also exchange the sounds over the network and save them as you please.


approach

I'm really obsessed and dare to make a key statement that one or the other will knock out my ears. Of course, the classic comparisons such as Fender, Marshall, Mesa and many others are tried to put the characters of the individual sounds in drawers, the user needs a reference to orient himself. But the real fun only comes when you leave these role models aside and simply rely on your ears, in the sense of whether I like it or not.

I would also like to focus less on the speaker-emulated-directly-into-the-console sounds, and rather take a close look at the stage suitability of the amp. Therefore, I will only present sound examples that were recorded or generated in a classic form with a microphone and "real" loudspeakers.

sound

If you accept this "reduction", you have a truly powerful tool in the Positive Grid Bias Rack, which is hard to beat in terms of flexibility. What you can get out of a JTM45 or a JCM800 alone. Maybe see how a Marshall would have sounded with a 6L6? Or at least something like that? Oh, there it is again, the frantic attempt to describe a sound with a trademark. Pfui, Axel, what did I just say?

I could go and hammer in tons of lines into this test, which would always be just an attempt to describe the sounds. I find such tests not only boring, but also misleading, since every musician has a completely different idea of what the perfect amp should sound like for them. In this case, I can only recommend borrowing the amp, not doing anything for at least a weekend and sending your lovely wife to go shopping with your credit card so that she leaves you alone for 48 hours. The investment could be worth it.

Conclusion

What the American company offers in terms of flexibility with its Positive Grid Bias Rack is second to none. The amp, which was developed from a software application, offers the musician who likes to experiment tonal possibilities that the classic analog design cannot deliver.

To speak of better or worse here would not even begin to capture the core of the sound, so you should take the system to heart and then decide whether over 100,000 sound variations take your breath away or you into the pond of eternal bliss in sound.

Be sure to try it!


Additional Informations:

Comprehensive Report on Positive Grid

1. Introduction:
Positive Grid is a leading technology company specializing in audio software and hardware for musicians, producers, and music enthusiasts. Founded in 2008 and headquartered in California, USA, Positive Grid has become synonymous with innovation and excellence in the music industry. This report provides a comprehensive overview of Positive Grid, including its history, product range, technological advancements, market impact, and commitment to musical creativity.

2. Company Background:
Positive Grid was founded by Dr. Albert Liu, an avid guitarist and software engineer, with the vision of leveraging cutting-edge technology to enhance the music creation process. The company's initial focus was on developing software solutions for guitar and bass amplification simulation, leading to the creation of the critically acclaimed BIAS Amp and BIAS FX software.

3. Product Range:
Positive Grid offers a diverse range of software and hardware products tailored for musicians and music producers. The company's product lineup includes:

a) BIAS Amp: BIAS Amp is a groundbreaking software that allows guitarists and bassists to create their own custom amplifier models, offering unparalleled flexibility and tone-shaping capabilities.

b) BIAS FX: BIAS FX is an innovative software that simulates a wide array of guitar pedals and effects, enabling users to craft their signature sounds for recording and live performances.

c) Spark Amp: The Spark Amp is a revolutionary smart amplifier that combines high-quality sound with advanced technology, including intelligent features like Smart Jam and Auto Chord, enhancing the practice and creative process for musicians.

d) Pedals and Audio Interfaces: Positive Grid offers a line of hardware products, including guitar pedals and audio interfaces, designed to seamlessly integrate with their software offerings and provide musicians with superior sound quality and performance.

4. Technological Advancements:
Positive Grid has been a pioneer in audio software development, consistently pushing the boundaries of technology. Some notable technological advancements by Positive Grid include:

a) Realistic Amp and Effect Simulation: Positive Grid's software utilizes advanced algorithms and machine learning to provide highly realistic and responsive amplifier and effect simulations, setting new standards for tone accuracy.

b) Artificial Intelligence (AI) Integration: The Spark Amp's AI-powered features, such as Smart Jam and Auto Chord, demonstrate Positive Grid's commitment to harnessing AI for creative music-making experiences.

c) Cloud-Based Collaboration: Positive Grid introduced cloud-based collaboration features in its software, enabling musicians to collaborate on projects remotely, breaking down geographical barriers.

5. Market Impact and Global Reach:
Positive Grid's software and hardware products have gained widespread popularity and recognition worldwide. Musicians, producers, and audio professionals from various genres appreciate the company's commitment to high-quality sound and user-friendly interfaces. The company's products are available through authorized dealers and digital marketplaces, reaching customers across the globe.

6. Empowering Musical Creativity:
One of Positive Grid's core values is to empower musical creativity through accessible and innovative tools. The company's software solutions cater to both beginners and seasoned musicians, encouraging experimentation, and inspiring musical expression.

7. Awards and Acclaim:
Positive Grid's dedication to excellence has been acknowledged with numerous awards and accolades. The company's products have received recognition from industry experts and musicians, solidifying Positive Grid's position as a leading audio technology provider.

8. Community Engagement:
Positive Grid fosters a vibrant and engaged community of musicians through online forums, social media channels, and user-driven content. The company actively listens to customer feedback and incorporates suggestions into product updates, ensuring that users' needs are at the forefront of their development process.

9. Conclusion:
In conclusion, Positive Grid has made a significant impact on the music industry, providing musicians and music producers with innovative software and hardware solutions that enhance the creative process and redefine sound possibilities. With its commitment to technological advancement, musical creativity, and community engagement, Positive Grid continues to be a trailblazer in the audio technology space, inspiring musicians worldwide and shaping the future of music production and performance.