The coolest part of the head, though, is the way it quickly interfaces with desks to provide that same quality direct to a house PA or a recording track. We’re also very impressed with the lower gain voicings, particularly the glassy treble complexity of the ‘ ’64 British J45’ patch and the touch-sensitive midrange throatiness of ‘Tweed Lux’. The higher-gain distortions keep noise down to respectably low levels, helped by the noise gate. What’s more important is that the core tones are very usable for both live and recording situations, with plenty of instant-gratification patches in the ToneCloud for those occasions when time is in short supply. The overall quality of the presets is excellent your idea of what constitutes a perfect AC30 or tweed Bassman may not always line up with other people’s, but there’s plenty of flexibility in the software to deal with that. Turning the preset knob selects the patch, while tapping it swaps from Red to Green and back again.
It has 16 presets, arranged in two banks of eight called Red and Green. The Bias Mini allows real-time tweaking from the front panel controls like any regular guitar amp. Saving presets is quite straightforward - once you’re happy with a particular sound, click on ‘Save to Head/Rack’ in the preset menu and you’re good to go. Upgrade from the standard app and you can access a very tempting Celestion-licensed cab module and load your choice of IR patches, as well as play with the Amp Match function. Effects are noticeably absent, however, but there’s a noise gate, hum reduction and several excellent reverbs, with a choice of room, plate and hall algorithms alongside a superb chamber.
The app itself is superb, with beautifully drawn artwork adding to the illusion that you’re customising real amps, rather than shuffling ‘0’s and ‘1’s inside a DSP.
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