In my humble opinion, FRFR to me meant finding amplification that made my basses louder but didn’t colour the tone in any way whatsoever, or at least as close to that as possible. For me, until I found that fundamental basic tone of a bass it was pointless manipulating that tone when you weren’t ‘at zero’ so to speak. I finally felt I’d found that fundamental tone once I began using the QSC K12.2. From that point on I began to manipulate the tone with a HX Stomp, even though these manipulations were tiny, in my opinion this made the signal no longer FRFR. Playing the bass through an active uncoloured speaker with nothing else in the signal chain is what FRFR means to me but the minute you manipulate the tone in any way or listen to the tone via IEMs, a PA, headphones, whatever, then part of your tone is the bass, part of it is the other things the signal is travelling through. So, for me, FRFR was about finding as uncoloured tonal basis from which I could start. All the other benefits, the small size of the rig, the happy faces of FOH engineers when they can DI straight out of the back of the speaker and finally hearing how my basses really actually sound and being able to work with that tone from as close to flat as I could get.