Two Notes Reload User Manual
Torpedo Reload
Guitar Connectivity... Perfected!
User’s Manual
V 1.03- 06/03/2014
Torpedo Reload User’s Manual
Manual Version V 1.03- 06/03/2014.
The complete electronic version of this manual, as well as the Two Notes Audio Engineering software and hardware products, are subject to updates. You can download the most recent versions
of the products on the following website: http://www.two-notes.com.
This manual describes the Torpedo Reload and provides instructions for its operation. It is highly
recommended that you read this document before using the product. The contents of this manual
have been thoroughly verified and it is believed, unless stated otherwise, to accurately describe the
product at the time of shipment from the factory or download from our website.
Two Notes Audio Engineering is a registered trademark of:
OROSYS SAS
145 rue de la Marbrerie, BAL n°6
34740 Vendargues
France
Tel: +33 (0)484 250 910
Fax: +33 (0)467 595 703
Contact and support: http://support.two-notes.com/
Website: http://www.two-notes.com
This document is the exclusive property of OROSYS SAS. In the interest of product development,
OROSYS SAS reserves the right to change technical specifications, modify and/or cease production without prior notice. OROSYS SAS cannot be held responsible for any damage, accidental or
otherwise, that results from an inappropriate use of the Torpedo Reload. Please refer to the safety
instructions included in this manual. The reproduction of any part of this document is strictly forbidden
without the written authorization of OROSYS SAS.
All product names and trademarks are the property of their respective owners. Product names
and trademarks found in this document were used during the development of the Torpedo Reload
product but are in no way associated or affiliated with OROSYS SAS.
Two Notes Audio Engineering Torpedo Reload 3
Contents
1 Foreword 7
1 Safety instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.1 Risk of electric shock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.2 Reader warning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.3 Mains power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.4 Ground connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.5 Conditions for safe use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.6 Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.7 Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2 Declaration of conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
3 Contents of the package . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
4 Disposal of Waste Equipment by Users in Private Household in the European Union . . . . 9
5 Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2 Recommendation on the proper use of a loadbox with a tube amplifier 11
1 What is a loadbox? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2 Which output volume for my amplifier? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3 Is the use of a loadbox totally silent? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3 About the Torpedo Reload 13
1 Introducing the Torpedo Reload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2 Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
3 Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
4 The Torpedo Reload’s advanced functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.1 RE-ACT™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.2 Hi-Z instrument DI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.3 REPLAY™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.4 MATCH™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5 The Torpedo technology and Torpedo Wall of Sound plugin . . . . . . . . . . . . . . . . . . 16
6 Torpedo Wall of Sound, only a speaker simulation? . . . . . . . . . . . . . . . . . . . . . . . 17
6.1 Tube Stage Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.2 Post FX section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6.3 The new Wall of Sound III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4 Connecting the Torpedo Reload 19
1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2 LED indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
3 DI recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4 Power attenuator and load box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.1 RE-ACT™, how does it work? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.2 Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.3 Contour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
5 Re-amplification using REPLAY™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
5.1 Silent REPLAY™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
5.2 The full setup: DI + LOADBOX + miking . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
5.3 MATCH™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
5.4 MATCH™ without the original guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
5 Setting up Torpedo Wall of Sound 27
1 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
1.1 On a PC using Windows™ OS or an Apple Mac™ using OSX™ . . . . . . . . . . . . 27
1.2 Registering Torpedo Wall of Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2 Using Torpedo Wall of Sound with an amplifier or a preamplifier . . . . . . . . . . . . . . . . 27
3 Using Torpedo Wall of Sound with a software or hardware amplifier emulator . . . . . . . 28
4 Software and cabinets update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
6 Using Torpedo Wall of Sound 31
1 Torpedo Wall of Sound interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2 Routing of Torpedo Wall of Sound: stereo and mono to stereo track . . . . . . . . . . . . . 32
3 Routing of the Torpedo Wall of Sound: mono track . . . . . . . . . . . . . . . . . . . . . . . 33
4 General controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
5 Input gain and output volume controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
6 Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
7 Power Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
8 Power amp, cabinet and microphone selection . . . . . . . . . . . . . . . . . . . . . . . . . 35
9 Miking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
10 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
11 Exciter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
12 Comp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
13 Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
14 Wall of Sound section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
15 Want more cabs? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
16 Hotkeys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
7 Specifications 43
1 Torpedo Wall of Sound specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
1.1 Available Power Amplifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
1.2 Available Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
1.3 List of WoS speaker cabinets provided with the Torpedo Reload . . . . . . . . . . . 44
2 Torpedo Reload specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.1 Internal circuit diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.2 Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.3 Possible post-attenuation speaker combinations . . . . . . . . . . . . . . . . . . . . . 46
2.4 Minimal attenuation, maximal output power . . . . . . . . . . . . . . . . . . . . . . . 46
2.5 Technical data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
8 Technical support 49
Foreword
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS : RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR.
Part 1
Foreword
1 Safety instructions
Before using the product, it is necessary to carefully read and to bear in mind the following information. Keep this document in a safe place as it is important for the protection of both user and
product. Should you suspect any malfunction of the device, always seek the assistance of a qualified
technician.
1.1 Risk of electric shock
The triangle with a lightning bolt means that some parts of the product, even
when the power is turned off or unplugged, can retain voltage high enough to
cause serious electric shock. Any operation that requires opening the device
should be left to a qualified technician.
1.2 Reader warning
The warning panel located at the back
of the unit lists all the messages related
to your safety. All the internal parts of the
unit must only be manipulated by quali-
fied technician.
1.3 Mains power
Please verify that the voltage required by the device matches the voltage of your country. If it is does
not or if you are unsure, do not connect the machine to the wall outlet, as this may result in damages
Two Notes Audio Engineering Torpedo Reload 7
The triangle with an exclamation mark highlights important messages concerning the correct use of the device.
Foreword
to the machine and injuries to the user. This product should not be used during thunderstorms. In
cases of severe weather with risks of lightning, unplug the mains power supply to reduce the risk
of electric shock and fire. The mains power cable provided with the machine complies with the
standards of the country where you purchased the product. If replacement is needed, please use a
standard compliant cable.
1.4 Ground connection
For safety reasons, the machine needs to be plugged to a wall outlet providing a ground connection.
If your electric installation does not provide a ground connection or if you are unsure, please ask a
qualified electrician for help.
If your mains power cable doesn’t match your wall outlet, ask a qualified electrician for help.
Never remove the outer or inner ground connection of the unit to prevent risks of electric shock or
fire.
1.5 Conditions for safe use
The Torpedo Reload must never be used near a heat source, near a flame, in the rain, in damp areas,
near any liquid of any sort. When transporting the unit, care needs to be taken to avoid any shocks
that could cause damage that would require the assistance of a qualified technician.
1.6 Cleaning
Always use a piece of dry and soft cloth with no alcohol or solvents for cleaning. Please keep the
unit clean and free from dust.
1.7 Maintenance
All maintenance operations must be performed by service centers approved by OROSYS SAS or by
qualified technicians. Never try to repair the machine by yourself.
2 Declaration of conformity
Manufacturer: OROSYS SAS
Category of product: digital audio signal processor
Product: Torpedo Reload
Test Manager: Guillaume Pille
The Two Notes Torpedo Reload is certified to be compliant to the CE and FCC standards:
• EN 55103-1 : 1996 and EN 55103-2 : 1996.
• EN 60065 05/2002 + A1 05/2006.
• EMC directive 89/336/EEC and Low Voltage Directive 73/23/EEC.
• FCC Part 15 : 2008.
• ICES-003 : 2004.
• AS/NZS 3548 class B for Australia and New Zealand.
8 Two Notes Audio Engineering Torpedo Reload
Foreword
• IEC : 2008 - CISPR 22 class B.
3 Contents of the package
The shipped package contains:
1. One Torpedo Reload unit in a protecting sleeve,
2. One mains power cable,
3. One owner’s manual.
The complete electronic version of this manual as well as the Torpedo Remote and BlendIR software programs are subject to updates. You can download the most recent versions of those products
on the following website: http://www.two-notes.com.
4 Disposal of Waste Equipment by Users in Private Household in the
European Union
This symbol on the product or on its packaging indicates that this product must not be disposed of with your other household waste. Instead,
it is your responsibility to dispose of your waste equipment by handing it
over to a designated collection point for the recycling of waste electrical and electronic equipment. The separate collection and recycling
of your waste equipment at the time of disposal will help to conserve
natural resources and ensure that it is recycled in a manner that protects human health and the environment. For more information about
where you can drop off your waste equipment for recycling, please
contact your local city office, your household waste disposal service or
the shop where you purchased the product.
Two Notes Audio Engineering Torpedo Reload 9
Foreword
5 Warranty
OROSYS SARL warrants that this TWO NOTES AUDIO ENGINEERING product shall be free of defects in
parts and workmanship when used under normal operating conditions for a period of two (2) years
from the date of purchase. This warranty shall apply to the original purchaser when purchased from
an Authorized TWO NOTES AUDIO ENGINEERING dealer.
IMPORTANT: PLEASE RETAIN YOUR SALES RECEIPT, AS IT IS YOUR PROOF OF PURCHASE COVERING
YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT YOUR SALES RECEIPT.
Defective products that qualify for coverage under this warranty will be repaired or replaced,
(at OROSYS SAS’s sole discretion) with a like or comparable product, without charge. In the event
that warranty service be required, Please contact your authorized TWO NOTES AUDIO ENGINEERING
dealer in order to obtain an RMA to return the complete product to the Authorized TWO NOTES
AUDIO ENGINEERING Service Center closest to you, with proof of purchase, during the applicable
warranty period.
Transportation costs to the service center ARE NOT INCLUDED in this limited warranty. OROSYS SAS
will cover the cost of standard ground return transportation for repairs performed under this warranty.
This limited warranty becomes void if the serial number on the product is defaced or removed,
or if the product has been damaged by alteration, misuse including connection to faulty or unsuitable ancillary equipment, accident including lightning, water, fire, or neglect; or if repair has been
attempted by persons not authorized by OROSYS SAS.
Any implied warranties, including without limitation, any implied warranties of merchantability or
fitness for any particular purpose, imposed under state or provincial law are limited to the duration
of this limited warranty. Some states or provinces do not allow limitations on how long an implied
warranty lasts, so the above limitations may not be applicable.
OROSYS SAS ASSUMES NO LIABILITY FOR PROPERTY DAMAGE RESULTING FROM ANY FAILURE OF THIS
PRODUCT NOR ANY LOSS OF INCOME, SATISFACTION, OR DAMAGES ARISING FROM THE LOSS OF USE
OF SAME DUE TO DEFECTS OR AVAILABILITY OF IT DURING SERVICE.
In case you must absolutely send your TWO NOTES AUDIO ENGINEERING product to any other
location, it is of vital importance that you keep the original packing material. It is very difficult to
avoid damage when shipping the product without that material. OROSYS SAS is not responsible for
damages caused to the product by improper packaging and reserves the right to charge a reboxing
fee for any unit returned for service without the original packing material.
THE FOREGOING CONSTITUTES THE ONLY WARRANTY MADE BY OROSYS SAS WITH RESPECT TO THE
PRODUCTS AND IS MADE EXPRESSLY IN LIEU OF ALL OTHER WARRANTIES EXPRESSED OR IMPLIED.
10 Two Notes Audio Engineering Torpedo Reload
Part 2
Recommendation on the proper use of
a loadbox with a tube amplifier
1 What is a loadbox?
In the normal use of a tube amplifier, it is highly recommended that you always connect its power
output to a speaker cabinet prior to powering it up. The speaker cabinet (4, 8 or 16 Ohms) must
always be connected to the corresponding speaker output of your amplifier. Not doing so can lead
to partial or complete destruction of the output stage of the tube amplifier.
Most tube amplifier makers protect their products with fuses or other protection systems, but some
amplifiers still remain not or insufficiently protected. It is impossible to predict the behavior of all the
amplifiers on the market in case of use without a load (a speaker cabinet or a loadbox).
The electronic term that describes the speaker cabinet with respect to the amplifier is the "load":
we say the cabinet "loads" the amplifier. The term "loadbox" fits any product that embeds a load.
The main parameter of the loadbox is its impedance, expressed in Ohms. An 8-Ohm loadbox must
be plugged to the 8-Ohm speaker output of the amplifier.
The power sent to the load is turned into heat, so please follow the cooling recommendation of
the loadbox — otherwise overheating may cause damage, both to the loadbox and to the amplifier.
The Torpedo Reload is a loadbox. This term indicates that the Torpedo Reload is a load which can
electrically replace the speaker cabinet while dissipating (transforming into heat) the power coming
out of the amplifier.
The embedded load in the Torpedo Reload is a reactive one: it embeds a specific circuit to
simulate the complex impedance of a real speaker. This kind of system is widely used in the industry
to silently test amplifiers.
Always connect the speaker out of your tube amplifier to an appropriate load (speaker cabinet or load box). Torpedo Reload , once powered up, is such a load. Please note that you must always power up
the Torpedo Reload before your amplifier.
Two Notes Audio Engineering Torpedo Reload 11
Recommendation on the proper use of a loadbox with a tube amplifier
2 Which output volume for my amplifier?
The correct use of your amplifier with a loadbox requires some precautions. Because of the silence
while playing, it is much easier to accidentally run your amplifier beyond the reasonable limits set by
the manufacturer than when using a real speaker cabinet with it. This can lead to faster tube wear
and, in some cases, to more serious inconveniences.
When first testing the amplifier at high volume, monitor the color of the
tubes and the general state of the amplifier. Red-glowing tubes or any
appearance of smoke are signs of a problem that may result in partial
or complete destruction of the amplifier.
Keep in mind that the "sweet spot" - the perfect running point of the amplifier, the one that will
give you the tone you’re looking for - is rarely obtained at maximum volume. In addition, the volume
control of the amplifier is usually logarithmic, which means the volume goes up quickly on the first
half of the potentiometer rotation, reaches its maximum at 12 o’clock, and doesn’t change much
beyond this point. Therefore, you can reach the maximum volume of your amplifier even if the volume
potentiometer is not set at maximum.
By reaching the maximum output power of your amplifier, you will hear a lot of distortion, which
may not sound as well as you may hope. In fact, most amplifiers sound rather poorly at maximum
volume. Always keep in mind that your amplifier may not have been conceived to be used at
maximum volume for a long period of time. Running an amplifier at high volume will cause premature
wear of the tubes and possible malfunctions or damages at the output stage.
The fact that the volume control of your amplifier is not set at maximum doesn’t mean your amplifier is not running at maximum volume.
A good habit is to keep the usual volume setup you would use in rehearsal or on stage, rather than just following what the volume potentiometer indicates.
3 Is the use of a loadbox totally silent?
We usually talk about "silent recording" when a loadbox is involved. If we compare the loadbox
solution to a traditional cabinet miking solution, it is obviously several orders of magnitude quieter,
but you will still experience some minor sounds, noises, that have to be taken into account:
• Your guitar or bass strings can be heard. This is obvious, but it can be disturbing, depending on
your environment.
• You may hear some noise coming out of your Torpedo Reload when playing, like there is a tiny
speaker inside the box. This is perfectly normal and there is no reason to worry. The sound is
produced when power goes through the coil of the reactive load embedded on the Torpedo
Reload. The vibration is related to what power comes out of the amplifier connected to the
Torpedo Reload and to the signal’s frequency content (notes played are heard). Your amplifier
may also produce similar noise, at the output transformer’s level. Such noise is usually not heard,
simply because it is normally overcome by the sound coming from the loudspeaker.
• The Torpedo Reload embeds a fan, as there is quite a lot of power dissipated into heat inside the
box. We selected a so called "silent fan", but as it is running fast, it is never entirely silent. This said,
you can consider that, in normal use (hearing your guitar through monitors, or headphones), you
can barely hear that fan.
12 Two Notes Audio Engineering Torpedo Reload
Part 3
About the Torpedo Reload
1 Introducing the Torpedo Reload
Two Notes Audio Engineering is proud to introduce the Torpedo Reload , the all-in-one analog interface for recording guitars and basses in the studio. This product has been developed through years
of technical research, with great attention paid to the needs of guitarists, bassists and sound technicians who are confronted with the challenges posed by miking amplified instruments, whether on
stage or in the studio. Our goal is to provide ease of use, reliability, versatility and, above all, perfect
audio quality.
The Torpedo Reload is the interface everyone involved in modern guitar and bass recording situations needs. It was designed at first as the perfect interface between a guitar or bass amplifier and
a sound card, so you can send the best signal possible to our Torpedo Wall of Sound plug-in, which
embeds the Torpedo technology.
Recording your guitar or bass amplifier in silence has always been the purpose of the Torpedo
products, but with the Torpedo Reload Two Notes has striven to gather together all of the major
functions and products you may need in a recording room:
• A Hi-Z instrument DI so you can record you guitar’s signal directly;
• The most transparent power attenuator and loadbox with multi-impedance input and continuous volume setting, from a minimal attenuation to 0dB. Two Notes creates the RE-ACT™ technology;
• A re-amplifying interface with a special function to perfectly adjust the level sent from the audio
interface to the amplifier. Two Notes creates the REPLAY™ and MATCH™ functions.
Record your guitar using the DI, send the signal back to your amp using REPLAY™, drive your
amplifier the way it should be driven and lower the level or simply make it silent with RE-ACT™, record
the signal from the load box, and even use your own microphones and cabinets for a 3rd take - all
simultaneously if needed!
This product has been thoroughly tested in professional studio and stage environments and is
the alternative many musicians have been expecting for the professional sound capturing of their
amplified instruments. The Torpedo Reload coupled with Torpedo Wall of Sound will give you the
elusive sound of the greatest recording studios and producers, any time, anywhere.
Two Notes Audio Engineering Torpedo Reload 13
About the Torpedo Reload
2 Front panel
Figure 3.1: Front panel of the Torpedo Reload
1 ON/OFF switch 4 Loadbox output level 7 Air vent 10 MATCH™ indicators
2 Hi-Z Instrument input 5 Speaker attenuator volume 8 Signal indicators 11 Heat warning
3 REPLAY™ level 6 Contour 9 Load impedance indicators
3 Rear panel
Figure 3.2: Rear panel of the Torpedo Reload
1 Cooling fan 4 Loadbox output (balanced)
2 RE-ACT™ speaker input 5 DI output (balanced)
3 RE-ACT™ speaker outputs 6 REPLAY™ I/Os
14 Two Notes Audio Engineering Torpedo Reload
About the Torpedo Reload
4 The Torpedo Reload’s advanced functions
4.1 RE-ACT™
Attenuators are usually known for the negative impact they have on your tone in cases of heavy attenuation, which is mainly due to the fact that the load presented to the amplifier will vary depending
on the attenuation level. On the contrary, the Reactive-Active technology (RE-ACT™) presents your
amplifier with a consistent speaker’s impedance no matter what level of attenuation you are at, thus
preserving the specific character of your amplifier.
With a choice of 4, 8, or 16 Ohms, your amplifier (up to 150W RMS, 200W peak) will actually see
real speaker impedance, and your tone will remain constant throughout the continuous attenuation
curve.
The attenuated outputs and the loadbox output can be used at the same time, so you can
simultaneously record the dry output from your amplifier’s speaker output and perform a traditional
miking of your cabinet(s). You can plug or unplug the speaker cabinet anytime without worrying
about its impedance with regards to the amplifier’s speaker output impedance, as the two are totally
independent.
Another issue with amplifier attenuation has to do with how our ears perceive the sound. In effect,
the lower the volume of the sound is, the less we hear low and high frequencies. That is because
our hearing is way better at low volumes for the mid frequencies of the voice, for example. The
CONTOUR parameter can be seen as a loudness compensation effect, but it can also be used as a
creative effect. Turn the button to the left (Vintage) and you will get a rich, medium-centered tone
with a lot of presence. Turn CONTOUR to the right (Modern) and you will get more bass and treble, a
V-shaped tone to get those frequencies your ears cannot perceive at low volume. Or simply to get
that ultra-tight metal tone or ultra-warm clean tone you are looking for...
Please note that a minimal attenuation is applied to the input power amplifier signal, whatever the
position of the SPEAKER potentiometer. There is no bypass mode in the Torpedo Reload, meaning the
sound will always be attenuated at the Torpedo Reload SPEAKER output. This attenuation is a function
of several parameters, read more about that in our Specifications section 7.2.4.
4.2 Hi-Z instrument DI
Plug your guitar or bass into the DI input and send that signal to your microphone preamplifier connected to your recorder. If the DI signal is too strong for your preamplifier, you can connect the DI
output to a Line input, by using an XLR-XLR cable or XLR (female) to Jack 6.35mm (1/4”) TRS. At that
stage what you want is clarity and Two Notes preserves your guitar’s tone, as you will certainly want
to re-inject it into your amp through the REPLAY™.
This DI signal is also suitable to feed any kind of amplifier-modeling software that can be followed
by the Torpedo Wall of Sound plug-in.
Please note that here is no hardwired splitter function in the Torpedo Reload. To feed at the
same time your DAW and an amplifier, you will need to send back the signal from the DAW using the
REPLAY™ interface. Please read about the REPLAY™ function to discover this new and very effective
way to record your instrument.
4.3 REPLAY™
One of the most interesting options in studios nowadays: play the guitar one day, and mike the amplifier (or many different amps) another. The Torpedo Reload is your re-amplifying device of choice.
Two Notes Audio Engineering Torpedo Reload 15
About the Torpedo Reload
The REPLAY™ output follows a low-impedance unbalanced design to ensure the best conditions
when sending the signal to the amplifier. The ground lifts will allow you to solve any grounding issues
that may come up when you are setting up the kind of complex wiring you can use with the Torpedo
Reload.
The most difficult part in re-amplification techniques is finding the output level on the DAW (Digital
Audio Workstation) that matches the level of your guitar when it is directly connected to the amplifier.
This problem is now solved, thanks to the Torpedo Reload’s unique MATCH™ feature.
4.4 MATCH™
This Two Notes innovation is the solution to the problem of level adjustment when re-amplifying. If
the level is too high your amplifier will tend to over-saturate, if the level is too weak the tone will lack
dynamics and liveliness.
MATCH™ compares the signal as it comes from the guitar (plugged to the DI input) with the signal
that has been recorded (and which is sent to the REPLAY™ Line Input) so that what you send the
amp is the ideal level only. Now you can be sure that the signal you send from the DAW is exactly
what your guitar itself would be sending.
You may even perform a MATCH™ with two different signals: if you have a previously recorded
track, for instance, but do not have the guitar with you — plug a similar guitar into the DI In and
match it to the signal!
5 The Torpedo technology and Torpedo Wall of Sound plugin
The Torpedo technology was created as a solution to the high pressure musicians commonly have to
deal with: lack of time, limited gear availability, loud amplifiers they cannot play at desired volume,
or bulky and heavy cabinets to carry. In addition, many musicians are more comfortable with their
analog amplifier and effects pedals, and are reluctant to perform using digital modeling systems that
may compromise their playing style and sound.
Two Notes has developed a unique technology based on an adaptation of convolution techniques. Starting with the measurement of an actual cabinet + microphone setup, the Torpedo products embedding digital processing can accurately reproduce the system as it was measured, as well
as the microphone’s position in space. In order to take full advantage of these digital algorithms, the
audio design of the highest quality guarantees a huge dynamic range and tone fidelity, and concurs
in bringing the ultimate playing experience.
The impulse response (IR) of a system describes it behavior under the form of a very detailed filter.
The convolution technique uses IRs to simulate the behavior or particular systems, such as reverbs,
speakers, EQ, etc.
It is the most accurate way to simulate sound signatures that are linear (i.e. without distortion) and
time-invariant (i.e. no effect like modulation, compression, hysteresis...). It is particularly well suited for
speaker miking simulation.
The Torpedo Reload comes with a Torpedo Wall of Sound plugin license. Torpedo Wall of Sound
offers a "virtual" alternative to traditional miking to achieve a degree of realism never experienced
previously with simulators. The musician simply plugs the Torpedo Reload in place of his/her cabinet,
connecting the amplifier’s speaker output to it and without modifying any of his/her usual settings
(or connected effect pedals as applicable). From there, the Torpedo Reload Loadbox output signal
can be sent to any microphone preamplifier and that signal recorded thanks to your DAW on a track
embedding the Torpedo Wall of Sound plugin.
16 Two Notes Audio Engineering Torpedo Reload
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