Electro-Voice Digital Organ Cabinet FX 70 User`s manual

Torpedo Studio
User’s Manual
V 1.0- 10/05/2014
Torpedo Studio User’s Manual
Manual Version V 1.0- 10/05/2014.
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 Studio 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 Studio. 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 Studio
product but are in no way associated or affiliated with OROSYS SAS.
Special thanks to Carlos Alvarez and Dave Brons for their help during the redaction of that document.
Two Notes Audio Engineering
Torpedo Studio
3
Contents
1 Foreword
1
9
Safety instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
1.1
Risk of electric shock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
1.2
Reader warning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
1.3
Mains power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.4
Ground connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.5
Safety use conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.6
Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2
Contents of the package . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3
Declaration of conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
4
Disposal of Waste Equipment by Users in Private Household in the European Union . . . . 11
5
Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2.1
Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2 Recommendation on the proper use of a loadbox with a tube amplifier
13
1
What is a loadbox? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2
Which output volume for my amplifier? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
3
Is the use of a loadbox totally silent? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
3 Quick start guide
17
1
Introducing the Torpedo Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4
Only a speaker simulator? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4.1
Tube Stage Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4.2
The Torpedo technology, convolution and Impulse Responses . . . . . . . . . . . . . 19
4.3
Dual Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.4
Post FX section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.5
Third-party impulse responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
5
4.6
Create your own IRs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Torpedo Studio quick start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6
Stay connected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4 Connecting the Torpedo Studio
1
2
23
Routing the Inputs/Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
1.1
Input Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
1.2
Outputs Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
1.3
Routing diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
In the studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Contents
3
On stage with an amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
4
On stage with a preamplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
5
Mixing a real cabinet miking and the Torpedo Studio . . . . . . . . . . . . . . . . . . . . . . 28
5.1
""Why am I hearing phase cancellation effects?" or fixing the latency-related issues when using the analog I/Os on the Torpedo . . . . . . . . . . . . . . . . . . . . 29
5.2
"What if I am using the digital I/Os on my Torpedo?" or how to figure out the
latency of the full digital system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
6
A note on external effects placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
7
Dry recording and re-miking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
7.1
Step one: recording the dry signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
7.2
Step two: re-miking the signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
5 Configuring and using the Torpedo Studio
The Torpedo Studio’s interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2
Speaker input gain control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
3
Main control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4
SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5
4.1
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
4.2
Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.3
Midi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.4
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.5
Device ID
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
PROGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
5.1
Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
5.2
Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
6
COMPARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
7
SPKR/MIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
8
6
33
1
7.1
Power Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
7.2
Speaker and Mic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
7.3
User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
MIKING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
8.1
Distance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
8.2
Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
8.3
8.4
Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Variphi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
8.5
Overload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
8.6
Dry / Wet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
9
BYPASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10
POST FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.1
Low Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.2
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
10.3
Exciter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
10.4
Comp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
11
Output volume control and headphones output . . . . . . . . . . . . . . . . . . . . . . . . . 43
12
Torpedo Remote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
13
Want more cabs?
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Two Notes Audio Engineering
Torpedo Studio
6 MIDI Implementation
49
1
PROGRAM CHANGE (PC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
2
CONTROL CHANGE (CC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
7 Specifications
51
1
List of Power Amplifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
2
List of Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
3
4
List of Cabinets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Technical data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
8 Technical support
57
Foreword
Part 1
Foreword
1
Safety instructions
Before using the product, it is necessary to carefully read and bear in mind the following informa-
tion. Keep this document in a safe place as it is essential for the safety of the user and of the product.
In the event that you suspect any malfunction of the unit, you should always seek the assistance of a
qualified technician.
1.1
Risk of electric shock
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS : RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR.
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 be serviced by a qualified technician only.
The triangle symbol with a lightning symbol means that some parts of the product, even when the power is turned off or unplugged, can retain voltages high
enough to lead to serious electric shock. Any operation that requires opening
the unit should be left to a qualified technician.
1.2
Reader warning
The triangle symbol with an exclamation mark is an indication for important messages concerning the correct operation of the device.
Two Notes Audio Engineering
Torpedo Studio
9
Foreword
1.3
Mains power
Please verify that the voltage required by the device matches the voltage of your country. If it
doesn’t or if you are unsure, do not plug the device to the wall outlet as this could result in damage
to the device and injuries to the user. This product must not be used during lightning storms. In
case of severe weather with a risk of lightning, unplug the mains power supply to reduce the risk of
electric shock and fire. The mains power cable provided with the unit 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 unit needs to be plugged into a wall outlet with 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 does not match your wall outlet, ask a
qualified electrician for help. In order to prevent risks of electric shock or fire, never remove the outer
or inner ground connection of the unit.
1.5
Safety use conditions
The Torpedo Studio must never be used:
• near a heat source,
• near a flame,
• in the rain,
• in damp areas,
• near any kinds of liquids.
The unit is designed to be rackmounted into a 19" rack unit with 4 screws (not provided). When
transporting the unit, care needs to be taken to avoid any shocks that might cause damage and
therefore require the assistance of a qualified technician. Never cover or restrict the ventilation openings. Never unplug or deactivate the heat control monitoring system, or you will be exposed to risks
of electric shock and fire.
1.6
Cleaning
Always use a dry and soft cloth with no alcohol or solvent for cleaning. Please keep the unit clean
and free from dust.
2
Contents of the package
The shipped package contains:
1. One Torpedo Studio unit in a protective sleeve,
2. One mains power cable,
3. One USB cable,
10
Two Notes Audio Engineering
Torpedo Studio
Foreword
4. One user’s manual.
The complete electronic version of this manual, as well as the TORPEDO Remote and TORPEDO
Capture software programs are subject to updates. You can download the most recent versions of
those products from the following website: http://www.two-notes.com.
2.1
Maintenance
Any and all maintenance tasks must be performed by service centers approved by OROSYS SAS
or by qualified technicians. Never try to repair the unit by yourself.
3
Declaration of conformity
Manufacturer: OROSYS SAS
Category of product: Digital Audio Signal Processor
Product: Torpedo Studio
Test Manager: Guillaume Pille
The Two Notes Torpedo Studio 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.
• IEC : 2008 - CISPR 22 class B.
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 Studio
11
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.
12
Two Notes Audio Engineering
Torpedo Studio
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" is used to describe any product that
provides a load to the amplifier. 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 in
the manual — otherwise overheating may cause damage, both to the loadbox and to the amplifier.
The Torpedo Studio is a digital loadbox. This term indicates that the Torpedo Studio 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 Studio is a selectable reactive or resistive one:
• Reactive means that the load is designed to mimic the complex impedance of a real speaker.
The result on the sound is usually a brighter tone and more natural sounding.
• Resistive means that the load is a simple resistance, or a network of resistances, which has a
fixed impedance value (4, 8 or 16 Ohms) over the whole audio spectrum. This kind of system is
widely used in the industry to silently test amplifiers. The result on the sound is usually a warmer
tone, with your amp going into saturation a little sooner on the output volume (this actually
depends on your amplifier’s internal design).
Always connect the speaker out of your tube amplifier to an appropriate load (speaker cabinet or loadbox). Torpedo Studio, once powered
up, is such a load. Please note that you should always power up the
Torpedo Studio before your amplifier.
Two Notes Audio Engineering
Torpedo Studio
13
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 the loadbox
can lower the perceived volume of your amplifier down to a "whisper", 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 good as you would hope. In fact, most amplifiers sound rather poor at maximum
volume. Always keep in mind that your amplifier may not have been designed 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 malfunction or damage to 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 A LOT quieter. Noises that you may have
not been able to hear before due to the volume of the speaker cabinet will now be more apparent.
Here are a few of those sounds that you might have to take into account:
• Your guitar or bass strings can be heard. If you are not used to this, it could be initially distracting,
depending on your environment.
• You may hear some noise coming out of your Torpedo Studio 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
Studio. The vibration is related to what power comes out of the amplifier connected to the
Torpedo Studio and to the signal’s frequency content (notes played are heard). Your amplifier, specifically the output transformer of your amplifier, may also produce similar noise. Such
noise is usually not heard, simply because it is normally obscured by the sound coming from the
loudspeaker.
14
Two Notes Audio Engineering
Torpedo Studio
Recommendation on the proper use of a loadbox with a tube amplifier
• The Torpedo Studio has a built in 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 the fan.
Two Notes Audio Engineering
Torpedo Studio
15
Part 3
Quick start guide
1
Introducing the Torpedo Studio
Two Notes Audio Engineering is proud to introduce the Torpedo Studio. This product has been
developed through several years of technical development, with great attention paid to the needs of
guitarists, bassists and sound technicians faced with the challenges posed by the miking of instrument
amplifiers, on stage or in the studio. The Two Notes team has taken extreme care to design the highend, professional Torpedo Studio rack unit. Our goal is to provide ease of use, reliability, versatility and
above all, perfect audio quality.
The Torpedo technology was created as an answer to the high pressure musicians have to deal
with: lack of time, limited gear availability, loud amplifiers that cannot be played at desired volume,
as well as bulky and heavy cabinets to carry. In addition, many musicians are more comfortable with
their analog amplifier and effect pedals, and feel reluctant to perform using digital modeling systems
that might compromise their playing style and sound.
For them, the Torpedo Studio offers a "virtual" alternative to traditional miking, using a technology derived from convolution reverberation, to achieve a degree of realism never experienced with
simulators before. The musicians simply plug into the Torpedo Studio in place of their cabinet by connecting it to the speaker output of their amplifier, without modifying their usual settings (or connected
effect pedals, depending on the case).
The Torpedo Studio comes with a large library of 50 cabinets and 8 microphones among the most
commonly used models in the world. You can also upgrade and add many other cabinets through
"La Boutique", our online virtual cabinet store. The virtual miking is done by choosing one cabinet
and one microphone, then fine-tuning the position of the microphone in front of the cabinet. The
Torpedo thus enables the user to assume the role of the sound engineer in a professional studio.
The TORPEDO Technology: for unsurpassed realism and playing comfort, 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 Studio 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 highest quality audio design guarantees perfect analog-to-digital conversion and a wide dynamic range to provide the ultimate playing
experience.
This product has been thoroughly tested in professional studio and stage environments and is
the alternative many musicians have been waiting for to professionally capture the sounds of their
amplified instruments. The Torpedo Studio will bring you the elusive sound of the greatest recording
studios and producers, anytime, anywhere.
Two Notes Audio Engineering
Torpedo Studio
17
Quick start guide
2
Front panel
Figure 3.1: Front view of the Torpedo Studio
3
1
Ventilation slits
4
Main screen
7
Output volume
2
Input gain
5
Menu switches
8
Headphones output
3
Presets screen
6
Navigation switches
9
Mains switch
Rear panel
Figure 3.2: Rear view of the Torpedo Studio
1
Mains power
4
Wordclock Input
7
S/PDIF In/Out
10
Analog Line Inputs (Bal. or Unbal.)
13
Impedance selector
2
Warning notices
5
MIDI In/Out/Thru
8
AES/EBU In/Out
11
Speaker THRU (Output)
14
Fan
3
Serial number
6
USB
9
Analog Line Outputs (Bal.)
12
Speaker Input
4
Only a speaker simulator?
The Torpedo Studio is a standalone unit you can bring with you in any situation, whenever silent
playing is needed.
The role of the Torpedo Studio is to replace the following elements of the traditional guitar or bass
setup:
• the guitar/bass power amplifier
• the speaker cabinet
18
Two Notes Audio Engineering
Torpedo Studio
Quick start guide
• the microphone
• the microphone preamplifier
In order to provide a signal that is the closest possible to a traditional guitar/bass miking in a
professional studio environment.
The miking is achieved in 3 steps with the Torpedo Studio:
1. Choose a power amplifier (or switch it off if you are using a loadbox), a speaker cabinet and a
microphone (Power Amp, Speaker, and Microphone sections);
2. Position the microphone inside the virtual studio (Miking window and parameters);
3. Shape the signal (Low Cut, EQ, Exciter and Comp sections).
At each step, Two Notes Audio Engineering implements its know-how to offer the most advanced
simulations on the market and ensure absolutely realistic quality both for the musician (in terms of
playing sensation) and for the listener (in terms of sound quality).
You can load up to 50 Two Notes cabinets in the Torpedo Studio. Download the free TORPEDO
Remote software (Mac OS X and Windows PC) from the Two Notes website, and you will be able to
add or remove the stored cabinets. There are currently more than 80 Two Notes cabinets available in
La Boutique and the Two Notes Store that you can try in real time and purchase with Torpedo Remote
(requires a working Internet connection).
4.1
Tube Stage Output
When using guitar/bass preamplifiers with some other speaker emulators, the musician may feel
they miss a power amplifier’s contribution to the overall sonic texture. Many musicians get their sound
from a particular use of that element and the Torpedo Studio gives you the possibility to use it too.
To that effect, Two Notes Audio Engineering has developed an original tube-stage modeling that
gives you a choice of 4 different tube models (6L6, EL34, EL84 and KT88) in Push-Pull (PP) in AB class, or
Single Ended (SE) in A class configurations. You can push this tube stage like a conventional amplifier
and look for that subtle yet particular distortion.
The Torpedo Studio can be used as a super-DI for keyboards. The tube-amp simulation feature,
developed for guitarists and bassists, can also be a very interesting device to warm up the sound of
a synthesizer, an organ, or a digital piano.
4.2
The Torpedo technology, convolution and Impulse Responses
The Impulse Response (IR) of a given system consists in the description of that system’s behavior
in the form of a very detailed filter. The convolution technique uses IRs to simulate the behavior of
specific systems such as reverbs, speakers, EQ, and so on.
This is the most accurate method to simulate sound signatures that are linear (i.e. without distortion) and time-invariant (i.e. with no effect such as modulation, compression, hysteresis, etc.). It is
particularly well suited for speaker miking simulation.
Two Notes has developed a unique technology based on an adaptation of convolution
techniques. Starting with a measure of a real cabinet + microphone setup, the Torpedo
Studio can accurately reproduce the system as it was measured, including its distortion,
as well as the microphone’s position in space by using IR synthesis. Control the amount of
distortion produced in the loudspeakers (Overload) and fix any phase issue with the Variphi
— exclusive Two Notes Virtual Cabinets Responses functions.
Two Notes Audio Engineering
Torpedo Studio
19
Quick start guide
4.3
Dual Processing
With a mono (a tube amplifier) or a stereo source (a multi-effects, two different preamplifiers...)
the Torpedo Studio offers you what every sound engineer wants: the possibility of carefully placing
two microphones before the same cabinet, or of selecting two different cabinets and microphones
and mixing them.
You will discover the unlimited possibilities of dual miking, with two simultaneous A and B processing
channels: add up to two microphone and cabinet configurations and mix them in the stereo field or
keep them isolated on each channel, in real time.
The IDLE display screen will show the A and B configurations. In the GEAR, MIKING and Post FX
sections, you will choose the configurations and adjust the parameters. Simply click on these buttons
to select the A or B channel.
The Torpedo Studio features a loadbox which is mono, but can handle either two Analog
Line or Digital inputs, or a combination of the amp and Line inputs. Please refer the the
Setup/Audio/Input menu for more information.
4.4
Post FX section
When recording guitars or basses, it is common to apply a few effects to shape the sound before
it is sent to a PA or a recorder. In the Torpedo Studio you will find the mandatory Low Cut filter, a
simple but highly effective EQ filter with two modes, GUITAR or BASS, a 1-band Exciter, and a studio
Compressor.
4.5
Third-party impulse responses
The Torpedo Studio is capable of delivering the best guitar and bass tones by using the TORPEDO
technology, but you can also embed impulse responses that you have purchased or downloaded
for free from 3rd-party developers, in WAV or AIFF formats.
You can upload third-party IRs in the Torpedo Studio, by way of the free Torpedo Remote software.
4.6
Create your own IRs
Download the free TORPEDO BlendIR software from the Two Notes website. With this software you
will be able to capture your own cabinet + microphone setup and embed its sound signature into
the Torpedo Studio.
5
Torpedo Studio quick start
The Torpedo Studio is set up to be connected, right out of the box, to a guitar or a bass amplifier,
and used with headphones. You will just need a guitar or bass amplifier with a 4, 8 or16 Ohm Speaker
Output and headphones.
20
Two Notes Audio Engineering
Torpedo Studio
Quick start guide
1
Electric guitar or bass
3
Torpedo Studio
2
Guitar or bass amplifier
4
Headphones
In this first simple configuration, you will be creating a line-level professional "studio" quality output
for your amp, which will allow you to familiarize yourself with the machine within minutes.
First plug a cable (jack or speakon) into one of the
Speaker Outputs of your amp.
Remember to always set the Torpedo Studio to the same impedance
rating as the one indicated above the socket you are plugged into
on the back of your amplifier. If you are using a speaker cabinet connected to the THRU output, the impedance on the amplifier must match
the cabinet’s impedance, regardless of the value indicated on the Torpedo Studio
Always use a standard speaker cable (a pair of insulated conductors
with no shielding) to connect your amplifier to the Torpedo Studio. Using an instrument cable instead of a speaker cable can cause significant damage to your amplifier, requiring service by a technician.
Two Notes Audio Engineering
Torpedo Studio
21
Quick start guide
Then, plug that cable into the "SPEAKER INPUT" jack input of the Torpedo Studio (number 12 in figure 3.2).
Finally, plug your headphones into the stereo jack output of the Torpedo Studio (number 8 in
figure 3.1).
Plug your amplifier and the Torpedo Studio into a wall outlet. You can now power-on the Torpedo
Studio, and then your amplifier.
When powering-on the Torpedo Studio, you will hear the sound of a
relay (a brief click). This corresponds to the activation of the loadbox of the Torpedo Studio, which allows your amplifier to run without a
speaker cabinet. It is very important to always power-on the Torpedo
Studio before powering-on your amplifier.
The Torpedo Studio starts on preset 00. Now the input gain and output volume must be set up.
1. Turn off the volume of the Phones output, as well as that of any devices connected to the
analog or digital outputs of the Torpedo Studio.
2. Turn up the volume of your amplifier to the level you want and play for a few seconds: turn the
input gain until you stay in the top green/yellow area on the input bargraph.
3. Turn the output volume gain until you stay in the top green/yellow area on the output bargraph.
4. Adjust up the Headphones output volume to your taste.
You can now browse the presets with the navigation knobs (number 6 in figure 3.1). Use the NAVI
knob to change the preset number and press OK to select a preset.
For more flexibility, the values of the output volume is stored within each preset. Therefore, you
may have to adjust those parameters depending on the presets.
Within a few minutes, you have prepared your system for silent performance with headphones, but also for stage sound pick-up (through the analog outputs) or for digital studio
recording (through the AES/EBU or S/PDIF outputs).
We will expand upon the numerous creative options and convenient features offered by the Torpedo Studio further down in this manual.
6
Stay connected
You may have discovered an idea to use the device in some innovative way. Do not hesitate
to come and share your experience on the Two Notes Audio Engineering Forum or social networks.
Please go to the Two Notes Audio Engineering website and click on the "Community" section.
Two Notes is also on the social networks Facebook, Soundcloud and Youtube — so do not wait
and come share your creative work!
22
Two Notes Audio Engineering
Torpedo Studio
Part 4
Connecting the Torpedo Studio
The Torpedo Studio offers a solution for silent and quality sound capture in many situations. The
following illustrations show the most common situations the Torpedo Studio has been created for,
starting with the various routing options.
1
Routing the Inputs/Outputs
The Torpedo Studio is a dual channel processor accepting mono or stereo input signals that can
be treated as independent or linked. The following illustration presents the various elements and how
there are configured.
• Inputs are illustrated by Amp, L for Left input (Line L, AES/EBU L or S/PDIF L) and R for Right input
(Line R, AES/EBU R or S/PDIF R), depending on the selected Input Mode.
• The triangle means either a digital Boost (B) or an analog gain controlled by the input potentiometer (G).
• The simulation channels are illustrated by A or B.
• Outputs are illustrated by L or R (Line, AES/EBU, S/PDIF outputs). All outputs receive the same L
and R signal, including the headphones output.
1
2
Input
Gain
3
4
Simulation Channel
Volume
5
6
Pan
Output
To modify the routing configuration, please refer to part 5. 4.1, the default routing mode is Amp to
Stereo.
Two Notes Audio Engineering
Torpedo Studio
23
Connecting the Torpedo Studio
1.1
Input Select
Inputs routing
"Amp"
Select the mono Amplifier Input and feed both A&B channels.
"Line L + Amp"
Select the mono Amplifier Input that feeds the B channel, the Line Left input feeds A. Use this configuration if you want to use an amp and a line level instrument simultaneously.
"Line", "S/PDIF", "AES/EBU"
Selected the corresponding stereo input that feeds respectively the A&B channels. Use this option
with a stereo line level instrument, or a digital processor/soundcard.
"Line L", "Line R", "S/PDIF L", "S/PDIF R",
"AES/EBU L ", "AES/EBU R"
Select the corresponding mono input and feed both A&B channels.
The Input potentiometer only controls the gain of the SPEAKER input (in other words, the loadbox
gain). The Line and digital inputs does not have an analog gain control, but we provide an Input
Boost to increase the signal when it’s needed. If you experience overloading of those inputs, please
lower the volume of the source instrument or computer. If is possible to boost the Speaker Input as
well.
1.2
Outputs Modes
We have incorporated a useful function inherited from the Torpedo Studio: the Dual Miking/Dry
output mode. When selecting that option, both A&B channels will be mixed in mono, either on the
right or left output, and the respectively left or right output will send the dry, unprocessed signal. It is
a very interesting function that allows you for example to record the dry signal on one track and the
wet signal, a mix of A and B processing channels, on another mono track.
Outputs routing
"Stereo"
24
A & B channels are respectively sent to the outputs L & R, following a Pan setting.
"Dry/Dual Miking"
A dry, unprocessed signal is sent to output L and A & B are mixed in mono and sent to the output R.
"Dual Miking/Dry"
A dry, unprocessed signal is sent to output R and A & B are mixed in mono and sent to the output L.
Two Notes Audio Engineering
Torpedo Studio
Connecting the Torpedo Studio
L
"Line L+Amp"
"AES/EBU",
"Line"
Amp
"S/PDIF",
L
R
L
B
R
A
L
B
R
Dry
L
Dry
R
B
R
L
B
R
Two Notes Audio Engineering
A
B
L
A
A
B
A
R
B
B
A
A
Amp
Dry
L
R
A
L
B
Dry
L
R
A
R
B
Dry
Not compatible
Not compatible
Not compatible
Not compatible
Torpedo Studio
L
B
G
B
R
Amp
A
L
B
B
Dry
G
B
L
Dual Miking/Dry
B
R
A
B
"Line R", "S/PDIF R",
"AES/EBU R"
L
B
"Line L", "S/PDIF L",
"AES/EBU L"
B
Amp
"Amp"
Dry/Dual Miking
G
B
Stereo
B
Output
G
B
/
B
Input
Routing diagrams
B
1.3
R
L
R
L
R
25
Connecting the Torpedo Studio
2
In the studio
The Torpedo Studio can be used in the studio for analog or digital recording. We shall concentrate
here on digital recording, but you can use the Line Outputs, for example to feed a microphone
preamplifier and add an extra "color" to your tone.
1
Electric guitar or bass
3
Torpedo Studio, rear view
5
Audio Interface
7
To other digital devices
2
Guitar or bass amplifier
4
DAW with TORPEDO Remote
6
Master clock
8
Optional cabinet
The Torpedo Studio acts here as an analog-to-digital converter, clocked by a wordclock and
connected to a DAW with the AES/EBU connection.
The USB connection gives you instant control over all the parameters of the Torpedo Studio. It is
also useful for uploading firmware updates, for preset backups, and for loading new simulations. The
standalone Torpedo Remote software allows you to address all of those functions.
For a working S/PDIF or AES/EBU connection, your audio interface must
be in slave mode, while the Torpedo Studio is in master mode. We
would recommend having the Torpedo Studio in slave mode if you wish
to control the digital sync from your DAW or a master clock. For more
information on your audio interface, please refer to its user’s manual.
An interesting option is to use the THRU output to feed a real speaker cabinet and do a miking of
that cabinet while recording with the Torpedo Studio, meaning having three different microphone
and cabinet combinations recorded at the same time.
3
On stage with an amplifier
The analog I/O of the Torpedo Studio offers great options on stage. For example, the analog
outputs (number 9 in figure 3.2) can be connected at the same time both to the front mixing console
and to a monitoring system (not shown here).
26
Two Notes Audio Engineering
Torpedo Studio
Connecting the Torpedo Studio
1
Electric guitar or bass
3
Guitar or bass amplifier
5
MIDI controler
7
Mixer
2
FX unit or pedals
4
FX unit or pedals
6
Stereo FX unit or pedals
8
PA
9
Optional cabinet
Note that the musician can, with a MIDI floorboard, control the parameters (CONTROL CHANGE)
and/or the presets (PROGRAM CHANGE) of the Torpedo Studio.
Playing in silence is a great feature, but at some point you do need to listen to what you play!
Here are a few options for use at home, in the studio, or on stage:
1. Listening through the Headphones output,
2. Listening via a guitar/bass cabinet plugged into the Torpedo Studio THRU output,
3. Having a local monitoring system on stage, by duplicating the LINE output with a mixer,
4. Having in-ear monitors or wedge speakers controlled by a sound engineer.
The THRU, AES/EBU, S/PDIF and LINE outputs can be used simultaneously.
4
On stage with a preamplifier
The Torpedo Studio offers two Line inputs to connect any kind of bass or guitar preamplifier, or any
other Line level instrument, including keyboards.
Two Notes Audio Engineering
Torpedo Studio
27
Connecting the Torpedo Studio
5
1
Electric guitar or bass
3
Guitar or bass amplifier
5
MIDI controler
7
Mixer
2
FX unit or pedals
4
FX unit or pedals
6
Stereo FX unit or pedals
8
PA
Mixing a real cabinet miking and the Torpedo Studio
On stage or in the studio, you may need to feel the sound coming out of a cabinet. You can
simply connect a cabinet to the THRU output on the Torpedo Studio. You will be able to hear the
sound coming from the amp as usual, without any simulation or effect from the Torpedo Studio.
Once you plug a cabinet into the THRU output:
1. The amplifier is directly connected to the cabinet,
2. The internal loadbox of the Torpedo Studio is disconnected.
28
Two Notes Audio Engineering
Torpedo Studio
Connecting the Torpedo Studio
On this figure, we have added an optional microphone to take the sound directly from the cabinet. That way you can then get at the same time, in one take:
1. A traditional track with a real cabinet and a microphone;
2. A simulated track using the Torpedo Studio library of speakers and microphones;
3. If needed, a dry digital track with no simulation, for later re-miking (see the re-miking section
below).
This gives you a wide range of sonic possibilities, for you to make sure you get the tone you are
looking for!
When you plug a cabinet into the THRU output, the impedance of that
cabinet is the one that your amplifier sees. In other words, with a 4Ohm cabinet, you need to connect to the 4-Ohm output of your amplifier. In this configuration, the loadbox inside the Torpedo Studio will
be disconnected.
5.1
""Why am I hearing phase cancellation effects?" or fixing the latency-related
issues when using the analog I/Os on the Torpedo
The Torpedo Studio is a digital product. Digital means that the analog signal at the input will be
converted into digital, processed, then converted back to analog.
The whole process takes a certain amount of time, referred to as latency. This can be described
as the time that it takes for the signal to go from one input to one output. In the Torpedo Studio or
VB-101, you can choose between two different latency modes (normal - 5.063ms or Low - 3.064ms).
Please note that when switching to Low, the Overload parameter is no longer accessible, to save
some CPU processing.
Mixing the output signal of the Torpedo Studio and a real cabinet miking will cause some issues
and possibly a comb filter effect if you do not compensate for the latency. To fix that, you will need
Two Notes Audio Engineering
Torpedo Studio
29
Connecting the Torpedo Studio
to add a delay of the latency value on the microphone track (as the microphone sound will arrive
"earlier" than the Torpedo sound), in the DAW or on the mixer, either in (milli)seconds or in samples.
In the following table we give the rounded number of samples corresponding to the Normal or
Low latency, in function of the sampling frequency of your project or digital mixer:
Latency / Delay value (ms)
32KHz
44.1KHz
48KHz
88.2KHz
96KHz
176.4KHz
192KHz
Normal - 5,063
162
223
243
447
486
893
972
Low - 3,064
98
135
147
270
294
540
588
For alternative frequencies, please use the following formula: nsample = latency × fs , where nsample
is the number of samples and fs is the sampling frequency. A sampling frequency of 44.1KHz means
that you are recording (or playing) 44100 samples per second.
As the number of samples is an integer, you will never match the exact latency value in milliseconds. Here is how we recommend you proceed to minimize the phase cancellation effect:
• Set a time length/number of samples as close as possible from the Torpedo Studio latency value
(with the help of the table);
• mix the microphone and the Torpedo signals in mono;
• play around the value you set to find the maximum energy, the loudest signal.
• An alternative way to find the best value is to inverse the phase of one of the signals and search
for the maximum attenuation. When you find it, put the track back in phase and confirm that
you actually found the best value.
5.2
"What if I am using the digital I/Os on my Torpedo?" or how to figure out the
latency of the full digital system
It is not possible to determine the exact latency of your system as soon as you use the digital I/Os
of the Torpedo. Why is that? Because the digital product sending and/or receiving the signal to/from
the Torpedo have a latency at its I/Os too. It is not really the problem however. The issue is that the
processing time of the analog to digital converted on your soundcard will never be the same as the
processing time of its digital inputs.
In other words, the processing time on the audio interface will introduce another delay between
the signal coming form the analog and digital inputs, and we do not know that extra delay.
Can anything be done to remedy this? YES
1. The most common way to compensate for the latency when you don’t know its value is to zoom
on the waveforms and move the Torpedo record so it will be time-aligned with the microphone
record. To improve the precision, you can just "slap" your guitar or bass to produce a kind of a
square waveform. The shorter (in time) and stronger the slap , the easier it will be to find where
you should focus your attention for the alignement. If you can’t be as precise as you would want
(because the DAW won’t allow sub-sample positioning), just add a delay on the microphone
track and play around to find the right value.
2. Some DAWs (such as Pro Tools) are able to measure and compensate for the outboard latency.
Please refer to your DAW’s manual to find out if this option is provided.
30
Two Notes Audio Engineering
Torpedo Studio
Connecting the Torpedo Studio
6
A note on external effects placement
The location of your effects (pedals or multi-FX) is very important. You can follow the usual rules
concerning the effects layout, with the ones that should be placed before a preamp (OD, fuzz,
compressor...), or in the amp loop (time-based effects like chorus, delay, reverb...).
An interesting option with the Torpedo Studio is the possibility to place some effects AFTER the
loadbox. This is what we call the "studio setup": in a studio, most of the time, the time-based effects
will be placed in auxiliary, meaning AFTER the miking, or directly in the DAW. This will lead to a cleaner
sound of said effects, that will not be touched by any potential modification like when they are in an
FX loop (distortion and compression from the power amp stage for example).
7
Dry recording and re-miking
Here is a particular configuration that makes the most of the Torpedo Studio’s great flexibility. When
recording, connecting the unit in this manner will allow you to rework a given recording after it has
been made. The purpose is to work on the miking when you have sufficient time to do it perfectly
— while mixing with all the other instruments, for example — and to multiply the tracks with various
miking settings if needed.
The reamping techniques (i.e., recording a guitar or bass through a DI and sending that signal into
an amplifier) are well known. What we are going to talk about here is something we call "re-miking".
This is done in two steps :
1. Dry recording the amplifier (i.e., recording the sound of the amplifier at the speaker output with
the Torpedo Studio but without a speaker simulation);
2. Using the Torpedo Studio as an external processing unit inside a digital or analog loop by using
the AES/EBU, the S/PDIF or the Line I/Os.
1
Electric guitar or bass
3
Torpedo Studio, rear view
5
Audio interface
2
Guitar or bass amplifier
4
DAW with TORPEDO Remote
5
Master clock
Two Notes Audio Engineering
Torpedo Studio
31
Connecting the Torpedo Studio
7.1
Step one: recording the dry signal
First of all you will need to get a DRY signal from the Torpedo Studio. On the following table we
have listed the various options you have with the Torpedo Studio. It is very off-putting trying to play
with a completely dry sound so we have indicated on which channel you can get a wet signal (i.e.,
with the speaker simulation on). You can choose to record the Wet signal or not, depending on your
DAW configuration and capability. You also have the option to activate the Torpedo Wall of Sound III
plugin on the DRY track and to play with a wet signal in direct monitoring.
7.2
Output mode
Dry channel
Wet channel
Dry/Dual Miking
Analog or Digital Out LEFT
Analog or digital I/Os RIGHT
Dual Miking/dry
Analog or Digital Out RIGHT
Analog or digital I/Os LEFT
Step two: re-miking the signal
You need to create a loop between the Torpedo Studio and your DAW. You can create either a
digital or an analog loop. To create a loop, connect both input and output of the Torpedo Studio to
the DAW:
1. The dry signal is sent from the DAW to the Torpedo Studio. On most sequencers, that track must
be routed to a dedicated output, not the master output track.
2. Choose the appropriate miking parameters on the Torpedo Studio; the dry signal is processed.
3. The wet, processed signal is sent to a new track on the DAW. That track can be routed to the
master track and activated for real-time listening.
Dry send (DAW to TORPEDO)
Wet return (TORPEDO to DAW)
Dry track status (DAW)
Wet track status (DAW)
1
Line Out to Line In
Line Out to Line In
Routed to Line out (not Master)
Routed to Master
2
S/PDIF Out to S/PDIF In
S/PDIF Out to S/PDIF In
Routed to S/PDIF Out (not Master)
Routed to Master
3
AES Out to AES In
AES Out to AES In
Routed to AES Out (not Master)
Routed to Master
Note: Wordclock is optional in a digital loop. Use it if you have several digital products that need
to be synchronized to your DAW.
32
Two Notes Audio Engineering
Torpedo Studio
Part 5
Configuring and using the Torpedo
Studio
1
The Torpedo Studio’s interface
The Torpedo Studio parameters are organized in menus that can be accessed with various switches
and knobs.
You will find three types of controllers:
• Two rotary encoders: output volume, navigation (NAVI);
• ten switches: SETUP, PROGRAM, COMPARE, SPKR/MIC, MIKING, POST FX, OK, ESC, two BYPASS;
• Two potentiometers: to control the SPEAKER Input gain, and headphones output volume.
Every action performed appears on the main screen of the unit (number 4 in figure 3.1). The
two-digit display (number 3 in figure 3.1) lets you know what preset number you are currently on.
Here is a representation of the screen displayed in PERFORM mode. The PERFORM screen is the
default screen you will see when first using the Torpedo Studio. This is the mode you will be on when
you are playing without editing or changing any parameter. From that mode you can navigate the
presets.
Figure 5.1: Torpedo Studio default screen
1
A and B speakers
4
A and B microphones
7
Digital output frequency
2
Preset name
5
USB connected
8
SPEAKER Input impedance
3
Input Boost and Output volume
6
MIDI signal
In the following paragraphs, we will illustrate all the commands and menus available from the left
to the right of the unit.
Two Notes Audio Engineering
Torpedo Studio
33
Configuring and using the Torpedo Studio
2
Speaker input gain control
This potentiometer controls the SPEAKER input gain of the unit. The Torpedo Studio being a digital product, it is absolutely critical that you
avoid any saturation of the input signal, or you may considerably reduce the sound quality. To get the best sound, try to have the same
volume (or close) on all different sounds coming to the Torpedo Studio.
This way you won’t have to change the input gain when switching the
channels on your amplifier. If you don’t have individual volume settings
on your amplifier channels, always do the gain setting with the loudest
channel.
The input gain adjustment must be done with input signal present at the SPEAKER input. The input
bargraph gives you a visual indication of the input signal amplitude. The upper red led is on when
there is saturation in the input stage: lower the volume of your amplifier output and/or lower the input
gain.
For optimum sound quality, we recommend keeping the peak levels of
the input signal at a maximum of -12dB to -6dB on the bargraph.
3
Main control panel
Figure 5.2: Torpedo Studio main control Panel
1
Preset number
5
Escape switch
9
Simulation bypass
2
Setup menu
6
Navigation encoder
10
Virtual miking menu
3
192x64 graphic display
7
POST FX bypass
11
Speaker & microphone selection menu
4
Validation switch
8
POST FX menu
12
Compare switch
13
Program menu
The Torpedo Studio control panel includes the various knob and switch controllers that give access
to the machine and/or sound parameters.
You can access any menu by pressing the corresponding switch. By pressing once you will access
the last channel you edited, either A or B. Pressing a second time will give you the other channel,
and A and B will alternate every time you click.
34
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
The last channel you edited is stored in memory. In other words, if after editing the channel B
MIKING you click once on Post FX, you will stay in channel B, and you will have to click twice to get
the channel A.
The navigation encoder has various functions:
• browsing the presets if you are on the PERFORM screen,
• browsing the parameters if you are on a menu screen,
• modifying the parameter that you have selected.
To access any given parameter setting or to validate it, press the "OK" switch. To cancel any
change made to the parameter setting, or to go back to selecting parameters, press the "ESC"
switch.
4
SETUP
The SETUP menu is where you will configure the unit. The parameters that are set up here will apply
to all the presets and be retained when the Torpedo Studio is turned off.
4.1
Audio
• Input Select: Select the input you want to activate for processing. The various routing options are detailed in part 4.
• SGA: The Safe Gain Adjustment is an automatic gain-reduction functionality developed by Two
Notes Audio Engineering, This parameter can be either Off, Out or Out Link. When set to Out,
the Torpedo will detect any saturation at the output stage, either on the A or B channel, and
lower the volume of the corresponding output. In Out Link mode, both channels will see their
volume decreased as soon as one is overloading. Use that mode if you process a stereo input,
to maintain the stereo image.
• Output mode: You can here choose to send either a processed (Stereo) signal or a combination
of processed and non processed ("Dual Miking/Dry" or "Dry/Dual Miking") signals to the analog
and digital outputs. In "Stereo" mode, a wet signal is sent to both channels (left and right). In
"Dry/Dual Miking" mode, a dry signal is sent to the left channel and a mono mix of both A and B
channels is sent to the right channel. In "Dual Miking/Dry" mode, the mono mix goes to Left and
Dry to right. This function is useful for recording a dry signal for later re-miking while monitoring
(and/or recording) a processed signal.
• Loadbox Mode: The Torpedo Studio features a loadbox that can be either Reactive or Resistive.
that is a unique function that let you choose either the warm sounding Resistive mode, or the
brighter and closer to real speaker impedance Reactive mode.
• Load Compensation: Only in Resistive mode, this option activates a filter that corrects the dynamic reactions of the amplifier when it is used with a loadbox (see section 2. 1). To get the most
realistic sound possible, you should activate it when you are using the integrated loadbox of the
Torpedo Studio, and deactivate it when using a speaker cabinet plugged into the "Speaker
Thru" output (number 13 in figure 3.2). You can choose to let it Off to get a softer and warmer
tone.
Two Notes Audio Engineering
Torpedo Studio
35
Configuring and using the Torpedo Studio
• Latency Mode: In every digital audio system, there is a time delay between the input and output
sound. This time delay is generally called "latency" and it needs to be as low as possible: above
a certain value, which is different for every person, the latency between a played string and
the output sound becomes noticeable, and will be distracting for the musician. The noticeable
threshold for guitar is usually considered to be around 10ms. The inner latency of the Torpedo
Studio is close to 5ms. In some cases (e.g., when chaining several digital audio devices), it can
be beneficial to reduce the latency of the Torpedo Studio, by turning the Latency Mode to
"Low". This decreases the latency to 3ms by suppressing the Overload parameter in the Torpedo
Studio’s speaker simulation and thus reducing the CPU load to accelerate the processing.
4.2
Sync
• Sync: The Torpedo Studio can be synchronized with an external clock ("Wordclock") or with input digital signals ("S/PDIF"
or "AES/EBU"). If you select an external clock sync, the detected frequency ("Output Freq.") will be displayed in the
Sync menu when the Torpedo Studio is actually locked to
the external signal.
• Output Freq.: Indicates the frequency of the Torpedo Studio digital outputs. Analog outputs
always run at 96 KHz (the native processing frequency).
4.3
Midi
• Channel: Select here the MIDI Channel you want the Torpedo Studio to respond to. When "All" is selected, the Torpedo Studio responds to all the channels (omni mode). All
the signals received at the MIDI input are sent back through
the "MIDI OUT/THRU" output.
• Control Change: Select whether or not the Torpedo Studio
should respond to CONTROL CHANGE messages.
• Program Change: Select whether or not the Torpedo Studio should respond to PROGRAM
CHANGE messages.
4.4
System
• Brightness: Set the brightness level of the display screen.
• Fan Control: Control the behavior of the cooling fan. We
recommend using the "Auto" mode, in which the fan’s speed
is controlled by the internal temperature.
36
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
4.5
Device ID
• Device ID: This menu lets you give an identifying name to
your machine. If you wish to use the Torpedo Remote software to control several different machines simultaneously
USB-connected to the same computer, you will have to give
each machine a different Device ID. Move through the alphabet using the "NAVI" knob and select the letters with
"OK".
• Device ID - reboot: After changing the Device ID, you will
need to reboot the Torpedo Studio.
5
PROGRAM
In this menu you can save and move the Torpedo Studio presets around.
5.1
Save
• Save: Press "OK" to display the saving screen for the current
preset. Choose the saving destination from the 100 at your
disposal, using the "NAVI" knob. Press "OK" again to save the
preset.
5.2
Name
• Name: Here you can give a name (10 characters maximum)
to your preset. Move through the alphabet using the "NAVI"
knob and select the letters with "OK".
6
COMPARE
With the "COMPARE" switch, you have access to an advanced comparison functionality devel-
oped by Two Notes Audio Engineering. Think about it as a temporary set of parameters that reinitialized after each startup of the unit. It can be used to quickly and easily compare two sets of
parameters. This can be compared to the "Clipboard" that is filled by the "Copy" function on our
personal computers.
• At startup, the normal set of parameters and the temporary one are the same.
• You can switch between the temporary set ("COMPARE" LED on) and the normal one ("COMPARE" LED off) by briefly pressing the "COMPARE" switch.
Two Notes Audio Engineering
Torpedo Studio
37
Configuring and using the Torpedo Studio
• Any modification of either normal or temporary set will be saved respectively in the normal or
temporary set, without affecting the other one. You have two separate sets of parameters at
hand.
• You can copy the normal set into the temporary one by pressing the "COMPARE" switch for
about 2 seconds. The "COMPARE" LED flashes to indicate that the copy has been performed.
You cannot copy the temporary set into the normal one.
Let us look at an example:
1. Make sure the "COMPARE" LED is off. Select a preset, make some changes as you desire: you
have now adjusted the unit with a new, specific set of parameters.
2. Save that new current (i.e., "normal") set of parameters into the temporary one (see above).
The two sets are now similar.
3. Make some more changes — for example, change the speaker model. Now the two sets are
different, and you can hear the difference by switching back and forth between the two (see
above).
Another interesting way of using that functionality is this: the temporary set of parameters is not
dependent on any particular preset. If you load a preset when on the normal set of parameters, the
content of the temporary set will not be affected. Thus, you can copy a preset into the temporary
set, then load a second one and compare the two together.
This constitutes a simple yet powerful way of comparing either a full preset to another, a modified
preset to the original one, or just preview a change made to a single parameter.
7
SPKR/MIC
In the "SPKR/MIC" menu, you can choose which power amp, speaker cabinet and microphone
you want to use. On A and B, you have 8 microphones and 50 speaker cabinets available. As you
are surely used to choosing your guitar/bass and amp to get a specific type of sound, you will notice
here how much the choice of speaker cabinet and microphone will impact the final sound.
Furthermore, the "User" parameter gives you access to your own impulse responses (.tur files, measured with Torpedo BlendIR), to impulse responses shared by other Torpedo Studio s, or to "standard"
third-party impulse responses (.wav or .aiff files), either downloaded or purchased.
This feature expands the sonic and creative possibilities to infinity. Do not hesitate to use audio files
with no direct link to speaker measuring and you can experiment with totally new sonic textures.
To add such impulse responses (IRs) to your Torpedo Studio, please report to the Torpedo Remote
user’s manual.
7.1
Power Amp
When using the Torpedo Studio with any kind of guitar/bass preamplifier, or even with an electric
piano or a synthesizer, you will need the sonic color that the final stage of a traditional amplifier brings
— that is, the power amplifier. Plug your device into the LINE input of the Torpedo Studio and enjoy
the typical sound of the Two Notes electrically accurate virtual tube power amplifier.
38
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
• Power Amp: Activate the power amplifier simulation by turning this parameter "On".
• Model: Choose the circuit topology (Push Pull or Single
Ended) and the tube type (6L6, EL34, EL84, KT88).
• Volume: Set up the output volume of your virtual power amplifier.
• Presence: This setting affects the tube-stage frequency as regards loudness. From 0% (medium
boost) to 100% (low and high boost), this parameter can be seen a loudness setting.
• Depth: This setting affects the bandwidth of the tube-stage. 100% means full bandwidth, and
decreasing that value will center the sound around the medium frequencies. As Depth is placed
after Presence, you may not notice its effect if Presence is set to a low value.
• Pentode/Triode: Select how the tube is used, either in triode or in pentode mode. Pentode
mode has more headroom and volume than Triode, meaning that Triode tends to saturate
earlier and with a softer sound.
7.2
Speaker and Mic
You have access to 50 different cabinets, and each cabinet can be miked with 1 of the 8 available
microphones. Please refer to Part 7 to discover the microphone and cabinet library.
• Speaker: Determine which speaker cabinet model to use for
the simulation.
• Mic: Determine which microphone model to use for the simulation.
Click on the SPKR/MIC button to select your A then B cabinet and microphone combination. The
microphones and cabinets on A and B can be different or identical.
7.3
User
• User: Determine which impulse response (IR) file to use for
the simulation. You can create user IRs with our software
BlendIR, or upload third-party IRs using Torpedo Remote.
You do not have access to the microphone positioning options when using the User impulses.
Two Notes Audio Engineering
Torpedo Studio
39
Configuring and using the Torpedo Studio
8
MIKING
In the "MIKING" menu, you take the place of the
sound engineer.
This is where you will find the
"sweet spot", the perfect microphone position. You
will also be able to control speaker saturation and
balance between simulated and non-simulated
tones. The first two parameters determine the microphone’s position. You can move the microphone around inside a trapezoidal plane that the
Torpedo Remote software lets you visualize.
8.1
Distance
• Determine the distance between the simulated cabinet and
microphone. Placing a microphone close to the cabinet will
result in a precise sound with a large amount of proximity
effect (dependent on the chosen model of microphone).
When you move the microphone away from the cabinet, you increase the part of the studio’s
acoustic (early reflections) in the sound.
Furthermore, depending on the cabinet model you use and especially with the ones including
multiple speakers, moving the microphone away can bring some higher frequencies back. This is
simply due to the directivity of the loudspeakers. At maximum positioning (100%), the microphone is
placed 3 meters (10 feet) away from the cabinet.
8.2
Center
Determine the distance between the axis of the loudspeaker and the microphone (placed at
a right angle). The in-axis position (0%) allows for a maximum amount of trebles, which are highly
directives.
Moving the microphone away from the axis decreases the trebles to the benefit of the basses. At
maximum position (100%), the microphone is placed at the edge of the speaker when Distance is
0%, and 1 meter (3 feet) away from the axis when Distance is 100%.
8.3
Position
In standard sound pick-up, the microphone is usually placed in front of the cabinet. However,
placing the microphone behind the cabinet can be quite interesting. The tone you get then will
usually be softer and darker. This is particularly noticeable with closed cabinet, less with open ones.
40
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
8.4
Variphi
• The Variphi function allows you to play with the phase of the
signal. When recording with two microphones you will often
experience the phase cancellation effects. A slight difference in the placement of the microphones plus the microphones own specifications can lead to that effect, which
can be either a problem (for example when all the bass frequencies disappear...) or a way to shape your tone.
When use with a single microphone, you will not notice the effect of Variphi, but as soon as you
add another microphone (for example two different microphones and cabinet combinations on A &
B), the Variphi parameter will give you a way to explore the tonal possibility of phase cancellation.
8.5
Overload
A loudspeaker is essentially a system designed to faithfully reproduce the sound transmitted by the
amplifier. Nonetheless, a loudspeaker is determined by certain particular audio properties depending on the power that is applied to it.
The "Overload" parameter reproduces the natural saturation occurring when the loudspeaker is
driven too hard. At maximum value, you get the sound of a loudspeaker close to destruction. A
good start would be to select a value between 0% and 20%, then increasing it if you want to create
a special effect.
8.6
Dry / Wet
Combine the dry, unprocessed sound, with the your A of B channel sound. This parameter is
particularly interesting on clean sounds for bass and guitar, or when searching for new and original
sounds.
9
BYPASS
There are two "BYPASS" switches, each associated to a red LED. The left one switches off the Tor-
pedo simulation, the right one switches off the "POST FX" module.
10
POST FX
You carefully prepared your guitar/bass sound in the previous section, it is now time to tailor your
guitar sound for mixing, whether for recording or on stage.
The "POST FX" section brings you some essential tools to quickly get a studio-quality ready-to-mix
sound.
10.1
Low Cut
It is usual to apply a low-cut filter on the guitar to make some room for the bass and bass drum in
the lower frequencies. The low-cut filter can also be used to remove extreme low frequencies that
can lead to an imprecise sound on the bass.
Two Notes Audio Engineering
Torpedo Studio
41
Configuring and using the Torpedo Studio
• Low Cut: Switches the low-cut filter ON or OFF.
• Frequency: Controls the cutoff frequency of the filter.
10.2
EQ
The Torpedo Studio includes an equalizer, which is a central tool for mixing. With a few adjustments,
it is possible to cut down an excess of low or high frequencies, to boost a frequency band for more
presence, or to apply the classic V-shape tone onto a distorded guitar.
The range of the EQ is wide: you can either use it lightly, to simply correct a particular aspect of
your sound, or in an extreme way, to produce some whole new sound character.
• EQ Mode: each of the two modes ("Guitar" and "Bass") offers
settings adapted to the instrument. When in "Off" mode, the
EQ is bypassed.
• Low: It is common to cut off the low frequencies on the guitar track to free up room for the bass
and bass drum. You can also use this parameter to remove extreme low frequencies on the
bass that can lead to an imprecise sound.
• LMid: With this frequency band, you can control the body of the instrument, its presence in the
lower range. It is probably the most important control for the bass.
• Mid: The central frequency band is the one you have to cut to obtain the V-shape EQ. On the
contrary, boosting it will lead to a more vintage type of sound.
• HMid: On a guitar, this frequency band is often useful to go through the mix. Generally speaking,
you can get your sound more or less aggressive, especially if it is a clean one.
• High: Adding trebles brings brilliance and brightness to your sound. By cutting them, you can
obtain a darker sound, which is useful on a bass, for example.
42
Band
Guitar Mode
Bass Mode
Low (shelf)
120Hz
50Hz
LMid (peak)
360Hz
120Hz
Mid (peak)
800Hz
360Hz
HMid (peak)
2000Hz
800Hz
High (shelf)
6000Hz
4000Hz
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
10.3
Exciter
An exciter is very useful to give a tone a certain character, or to add presence, or "air", to the
sound.
• Exciter: Switch the exciter ON or OFF.
• Gain: Control the quantity of effect applied to the sound.
• Freq: Control the center frequency of the exciter. For example, presence for guitar is usually found at 2 or 3 kHz. Air can
be added by placing this frequency at 6 or 8 kHz.
10.4
Comp
Using a compressor will reduce the dynamics of your sound, but can also be used to create special
effects, such as pumping. The parameters of the Torpedo compressor are the same as for a standard
studio compressor.
• Compression: Turn the compressor ON or OFF — and when
ON, see the level of compression applied to the signal, in dB
scale.
• Threshold: Control the signal level above which the compression occurs.
• Ratio: Control the ratio of the compression.
• Attack: Control the attack time, in milliseconds.
• Release: Control the release time, in milliseconds.
• Make-up Gain: Control the gain added at the output of the compressor.
11
Output volume control and headphones output
This encoder controls the output volume of the unit. The Torpedo Studio being a digital product, it is absolutely critical
that you avoid all saturation of the output signal, or you may
considerably reduce sound quality. The output volume consists in digital data, just like all the parameters in the Torpedo
Studio, and it is saved together with the preset. You will need
to adjust the output volume for each preset. Please note
that the output volume depends on which speaker cabinet
and microphone are being used for the simulation, as well
as on microphone positioning. You may need to readjust
the output volume when modifying those parameters.
The output volume must be adjusted based on the input signal at the selected input (analog or
digital). The "OUT" label in the upper right corner of the main screen indicates the current output
Two Notes Audio Engineering
Torpedo Studio
43
Configuring and using the Torpedo Studio
volume value. The output bargraph gives you a visual indication of the amplitude of the output
signal.
This encoder has another function: letting you display all
the input Boost levels, output volumes, and pan of A and
B channels. Simply turn the Output potentiometer and get
an overview of all your levels setting. You can navigate and
change the values directly from that menu.
For optimum quality, we recommend keeping the peak levels of the output signal at a maximum
of -6dB on the bargraph.
If you need to apply a high level of output volume gain, it is probably because your input signal is too low. Excessive output volume will reduce the signal-to-noise ratio and degrade the Torpedo
Studio’s overall performance. If you notice a drop in sound volume and the screen says "Gain Reduction" while you are playing, it probably means that the "Safe Gain Adjustment" function is activated.
Report to section 4 for more information.
The "HEADPHONES" potentiometer controls the headphones volume on the 1/4" jack headphones
output. This control is placed after the output volume control. Too low of an output volume setting,
compensated for by a high headphones volume setting, will reduce the signal-to-noise ratio and
degrade the Torpedo Studio’s overall performance.
The power delivered by the headphones output is high enough to remain efficient even when using high-impedance headphones. Therefore, it is possible to get very high audio levels with that output. We
strongly advise against the use of headphones with high audio levels.
The improper use of headphones can lead to irreversible damage to
your hearing.
12
Torpedo Remote
You can add new cabinets or IR files to your Torpedo Studio by using the standalone application
Torpedo Remote for Windows™ and MAC OSX™. Download the software from the Two Notes website:
http://www.two-notes.com. Take control of the machine via USB, change the parameters, arrange or
add/delete cabinets and IR files, and apply updates. Torpedo Remote will detect any new update
or new Two Notes cabinets (it requires a working Internet connection). With Torpedo Remote you will
be able to:
• Control the Torpedo Studio with a USB link,
• Update the Torpedo Studio’s firmware,
• Manage and upload new Two Notes virtual cabinets or any third-party file,
• Manage, upload and download the presets.
44
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
The installation process of the Torpedo Remote software creates two default folders where the
Impulses are stored:
• "Program Files\Two Notes Audio Engineering\Impulses" on Windows™.
• "/Library/Application Support/Two Notes Audio Engineering/Impulses" on MAC OSX™.
All the cabinet files must be stored inside that folder, without any subfolders. Torpedo Remote will
automatically save the downloaded cabinets in that folder.
13
Want more cabs?
• Two Notes cabinets:
Torpedo Remote features the new Two Notes Boutique. This
is an online store that gives you access to all of the Two Notes
virtual cabinets, captured with a set of 8 microphones. Make
sure you have a working Internet connection and click on La
Boutique:
On the bottom left you find all of the cabinet collections, which are simple filters: selecting a
collection lets you see only the cabinets you may have an interest in. For example only bass or
vintage cabinets.
On the center panel you can:
– browse the cabinets,
– launch a real-time preview of the cabinet by pressing the "play" button,
– get a closer look at the cabinet.
When previewing a cabinet, you can move the microphone while playing any track so as to
listen to the tone of that particular cabinet.
Two Notes Audio Engineering
Torpedo Studio
45
Configuring and using the Torpedo Studio
Please note that "La Boutique" has some limitations:
– Low Cut, EQ, Exciter and Compressor effects are inactive.
– You can only test one cabinet and one microphone at a time.
– Short silences are randomly inserted into the audio process.
On the bottom right side of the Boutique interface you will find the cart. By pressing the "ADD"
button on the cabinet panel, you will see the selected cabinet(s) appear on that panel. Depending on how many cabinets you wish to buy, you can get a discount. E.g., with more than
50 cabinets at a time, you get the biggest -65% "PROFESSIONAL" discount.
Once you have put all the cabinets you need in you basket, simply click on "Check out" to be
redirected to the Two Notes Store. The secured payment process uses your Internet Browser. No
billing or information on the payment method is stored on the Remote, so as to ensure maximum
security.
• .tur files:
.tur are proprietary files created with the Two Notes Audio Engineering Torpedo BlendIR software.
The software is available for download from the Two Notes website. With Torpedo BlendIR you
are able to use the Torpedo technology to capture the sound signature of your own cabinet
and microphone in the deepest details.
To add a .tur file to your list, simply move the file to the root of the default Impulses directory, or
select another folder. Please note that the files must reside at the root of that folder, without any
subfolders. The cabinet list will be automatically refreshed.
Please note that with .tur files you do not have access to the microphone positioning parameter.
46
Two Notes Audio Engineering
Torpedo Studio
Configuring and using the Torpedo Studio
• 3rd-party IR files in .wav or .aiff format:
Torpedo Studio complies with third-party Impulse Responses (IRs) in .wav or .aiff format.
To add a .wav or .aiff file to your list, simply move the file to the root of the default Impulses
directory or select another folder (see part 5.4). Please note that the files must reside at the
root of that folder, without any subfolders. The cabinet list in the plug-in will be automatically
refreshed.
Note: with 3rd-party files you do not have access to neither microphone positioning parameters.
Two Notes Audio Engineering
Torpedo Studio
47
Part 6
MIDI Implementation
Your Torpedo Studio can be controlled by MIDI messages (PROGRAM CHANGE and CONTROL
CHANGE) sent by a device connected to the "MIDI IN" input (number 5 in figure 3.2). The controlling
device can be a foot controller, a keyboard, or a personal computer.
To learn how to send MIDI messages, please refer to the manual of your controller.
The MIDI messages are transmitted to every linked machine. To filter
MIDI data received by the machine, you should configure the Torpedo
Studio to either be on a single (1-16) channel, or on "ALL" channels.
Please refer to section 4.3.
If you have several products communicating with a MIDI connection, you can use the "MIDI
OUT/THRU" output of the Torpedo Studio, which mirrors every MIDI message coming in through the
"MIDI IN" input.
1
PROGRAM CHANGE (PC)
Every preset in the Torpedo Studio is identified by a corresponding program number. Preset 01 of
the Torpedo Studio corresponds to the MIDI PC 01. You can address the 100 presets (from 01 to 100),
with MIDI PC 100 calling Preset 00. his way, it is possible to randomly access a preset by sending the
appropriate MIDI PC number.
2
CONTROL CHANGE (CC)
The following table indicates the CONTROL CHANGE numbers for every Torpedo Studio parameter,
as well as their range and behavior.
Two Notes Audio Engineering
Torpedo Studio
49
MIDI Implementation
Parameter name
CC]-A
CC]-B
Range
Behavior
0-1
0 = Off (Bypass) ; 1 = On
GENERAL
Sim Bypass
0
POWER AMP
Bypass
1
64
0-2
0 = On ; 1 = Bypass (Ch B: 2 = Link)
Model
2
65
0-7
0 = Model ]0 ; 1 = Model ]1...
Volume
3
66
0 - 30
0 = 0dB% ; 30 = 30dB
Presence
4
67
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
Depth
5
68
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
Character
6
69
0-1
0 = Triode ; 1 = Pentode
Mode
7
70
0-3
0 = Off ; 1 = Cab ; 2 = User (Ch B : 3 = Link)
Speaker
8
71
0 - ]Cab -1
0 = Speaker ]0 ; 1 = Speaker ]1 ...
User
9
72
0 - Nb User IR-1
0 = User ]0 ; 1 = User ]1 ...
Mic
10
73
0-7
0 = Mic ]0 ; 1 = Mic ]1 ...
Distance
11
74
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
Center
12
75
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
SPKR/MIC
MIKING
Position
13
76
0-1
0 = Back ; 1 = Front
Variphy
14
77
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
Overload
15
78
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
Dry/wet
16
79
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
POST FX
0-1
0 = On ; 1 = On
Low Cut - Bypass
FX Bypass
18
17
81
0-2
0 = On : 1 = Bypass (Ch B : 2 = Link)
Low Cut - Freq
19
82
0 - 127
Specific mapping to Hz
EQ - Mode
20
83
0-3
0 = Off ; 1 = Guitar ; 2 = Bass (Ch B : 3 = Link)
EQ - Low
21
84
0 - 40
0 = -20dB ; 20 = 0dB ; 40 = 20dB
EQ - Low Mid
22
85
0 - 40
0 = -20dB ; 20 = 0dB ; 40 = 20dB
EQ - Mid
23
86
0 - 40
0 = -20dB ; 20 = 0dB ; 40 = 20dB
EQ - High Mid
24
87
0 - 40
0 = -20dB ; 20 = 0dB ; 40 = 20dB
EQ - High
25
88
0 - 40
0 = -20dB ; 20 = 0dB ; 40 = 20dB
Exciter - Bypass
26
89
0-2
0 = On ; 1 = Bypass (Ch B : 2 = Link)
Exciter - Gain
27
90
0 - 127
0 = 0% ; 63 = 50% ; 127 = 100%
Exciter - Freq
28
91
0 - 127
Specific mapping to Hz
Comp - Bypass
29
92
0-2
0 = On ; 1 = Bypass (Ch B : 2- = Link)
Comp - Threshold
30
93
0 - 63
0 = 0% ; 63 = 50% ; 127 = 100%
Comp - Ratio
31
94
0 - 127
Specific mapping to ratios
Comp - Attack
32
95
0 - 127
Specific mapping to ms
Comp - Release
33
96
0 - 127
Specific mapping to ms
Comp - Make Up Gain
34
97
0 - 63
0 = 0dB ; 63 = 63dB
IN/OUT GAIN
Input Boost
35
97
0 - 20
0 = 0dB ; 20= 20dB
Output Volume
36
98
0 - 127
0 = Mute ; 95 = 0dB ; 107 = 12dB
Output Pan
37
99
0 - 127
0 = 100%L ; 63=C ; 127 = 100%R
Mute
38
100
0-1
0 = Unmute ; 1 = Mute
Input Boost - Link
39
0 - 20
0 = 0dB ; 20= 20dB
Output Volume - Link
40
0 - 127
0 = Mute ; 95 = 0dB ; 107 = 12dB
Output Pan - Link
41
0 - 127
0 = 100%L ChA, 100%R ChB ; 63=C ; 127 = 100%L ChB, 100%R ChA
Mute - Link
42
0-1
0 = Unmute ; 1 = Mute
Table 6.1: Torpedo Studio MIDI Implementation
50
Two Notes Audio Engineering
Torpedo Studio
Part 7
Specifications
1
2
List of Power Amplifiers
Designation
Characteristics
SE 6L6
Configuration Single Ended - Class A with 6L6
SE EL34
Configuration Single Ended - Class A with EL34
SE EL84
Configuration Single Ended - Class A with EL84
SE KT88
Configuration Single Ended - Class A with KT88
PP 6L6
Configuration Push-Pull - Class AB with 6L6
PP EL34
Configuration Push-Pull - Class AB with EL34
PP EL84
Configuration Push-Pull - Class AB with EL84
PP KT88
Configuration Push-Pull - Class AB with KT88
List of Microphones
Designation
Inspired by
Dyn 57
Dynamic microphone Shure™ SM57
Dyn 421
Dynamic microphone Sennheiser™ MD421
Knightfall
Condenser microphone Blue™ Dragonfly
Cnd 87
Condenser microphone Neumann™ U87
Rbn 160
Ribbon microphone Beyerdynamic™ M160N
Rbn121
Ribbon microphone ruban Royer™ R121
Dyn Bass20
Dynamic microphonee Electrovoice™ RE20
Dyn Bass52
Dynamic microphone Shure™ Beta52
Two Notes Audio Engineering
Torpedo Studio
51
Specifications
3
List of Cabinets
Designation
Inspired by
GUITAR cabinets
52
2Notes CSG
Two Notes Custom 1x12" ElectroVoice® EVM12L
Alichino
Cornford® Harlequin 1x12" OB Celestion® Vintage 30 UK
Angl VintC
Engl® 4x12" Celestion® V30
Bayou
Jenkins® Sound Lab 2x12” OB Eminence® Patriot Swamp Thang
BDeLuxe
Fender® Blues Deluxe 1x12"
Blonde 63
Fender® Bassman ’63 Blonde Tolex Piggy Back 2x12"
Brit 65C
Marshall® 1965A 4x10" Celestion® G10L-35 close back
Brit 65O
Marshall® 1965A 4x10" Celestion® G10L-35 open back
Brit Std
Marshall® JCM900 2x12" Celestion® G12T
Brit VintC
Marshall® Slash Signature 4x12" Celestion® V30 close back
Brit VintO
Marshall® Slash Signature 4x12" Celestion® V30 open back
Calif C90
Mesa/Boogie® 1x12" Celestion® C90 (Black Shadow)
Calif StdC
Mesa/Boogie® Rectifier® Standard 4x12" Celestion® V30 close back
Calif StdO
Mesa/Boogie® Rectifier® Standard 4x12" Celestion® open back
Eddie
Peavey® 5150 2x12" Sheffield 1200
Forest
Elmwood® 2x12" Celestion® V30
Free Rock
VHT® Deliverance 4x12" Eminence® P50E
Free Rock2
VHT® Deliverance 2x12" Eminence® P50E
Green Tri
Hughes&Kettner® Triamp 4x12" Celestion® Greenback
Jazz 120
Vintage Roland® JC120 2x12"
JubilGreen
Marshall® 2550 2x12" Celestion® Greenback
JubilV30
Marshall® 2550 2x12" Celestion® V30
Kerozen
Diezel® 4x12" Celestion® V30
R2D2
Musicman® 112 RD 1x12" Electro-Voice® EVM12L
Silver77
Vintage Fender® Twin Reverb® 2x12" orange JBL®
SilverJen
Vintage Fender® Twin Reverb® 2x12" Jensen® C12K
StrongBack
VHT® Fat Bottom 4x12" Eminence® P50E
The One
Brunetti® Neo1512 1x15" + 1x12"
Twill 15
Clark® Tweed Replica 1x15" OB Jensen® 1959
Vibro Utah
Vintage 1961 Fender® Vibrolux® 1x12" original Utah speaker
Vibro V30
Vintage 1961 Fender® Vibrolux® 1x12" Celestion® V30
Voice 30
Original Vox® AC30 JMI 2x12" Celestion® « Silver Bell »
Voice 65
1965 Vox® 2x12"
VoiceModrn
Vox® V212H, 2x12" Celestion® Alnico Blue
Watt FanC
Hiwatt® 2x12" Fane close back
Watt FanO
Hiwatt® 2x12" Fane open back
XTCab
Bogner® 4x12" Celestion® V30
Two Notes Audio Engineering
Torpedo Studio
Specifications
Designation
Inspired by
BASS cabinets
2Notes CSB
Two Notes Custom 1x15"
Alu XL
Hartke® XL 4x12"
AZ Ben
SWR® Big Ben 1x18"
AZ Work
SWR® WorkingMan 4x10"
Calif Low
Mesa/Boogie® 2x10"
Fridge
Ampeg® 8x10"
Heaven Bot
David Eden® 1x15"
Heaven Top
David Eden® 4x10"
Marco
Markbass® 2x10"
New York
Markbass® 4x6"
Rea One
AER® Cab One 2x10"
Voice V125
Vox® V125 2x12"
WGrandBlvd
Ampeg® B15N 1x15" CB Jensen® C15N, Vintage Ceramic
Two Notes Audio Engineering
Torpedo Studio
53
Specifications
4
Technical data
Designation
Characteristics
Speaker Input
Jack 6.35 mm (1/4") unbalanced (TS, Tip/Sleeve)
Maximum input voltage: 280 V AC (51 dBu)
Security load: 200 Ohms / 10 Watts
ANALOG Inputs
2 X Combo XLR - Jack 6.35 mm (1/4") balanced (TRS)/unbalanced (TS)
Maximum input level: 8.70 dBu
Input impedance: 20 kOhms balanced, 10 kOhms unbalanced
Loadbox
Reactive or Resistive load (relay), nominal impedance: 4 or 8 or 16 Ohms (switch)
Maximum admissible power: 150 W (assuming proper ventilation)
Maximum temporary admissible power : 200 W (assuming proper ventilation)
Cooled by temperature-controlled fan
High Impedance mode if a cabinet is connected to the THRU output (loadbox is disconnected).
Speaker Thru
Jack 6.35mm (1/4") unbalanced (TS)
ANALOG Outputs
2 x XLR balanced
Impedance: 600 Ohms balanced, 300 Ohms unbalanced
Maximum output level:
• (no load, balanced): 11.2 dBu
• (10 kOhm load, balanced): 10.7 dBu
• (no load, unbalanced): 5.1 dBu
• (10 kOhm load, unbalanced): 4.9 dBu
Headphones Output
54
Stereo out, Jack 6.35mm (1/4")
Two Notes Audio Engineering
Torpedo Studio
Specifications
Designation
Characteristics
S/PDIF
Sampling frequency: 44.1 kHz to 96 kHz
Master or slave configuration
AES/EBU
Sampling frequency: 44.1 kHz to 96 kHz
Master or slave configuration
ADC
Sampling frequency: 192 kHz
Resolution: 24 bits
Noise level: -111 dB (A-weighted)
THD: 0.0026%
Stereo crosstalk: -109 dB
DAC
Sampling frequency: 96 kHz
Resolution: 24 bits
Noise level: -109 dB (A-weighted)
THD: 0.0008%
Stereo crosstalk: -106 dB
Frequency response (-1db)
13 Hz - 45 kHz
Latency
(Normal latency mode) 5.063 ms, (Low Latency mode) 3.064 ms (Line Input to Line Output)
Thermal security
Temperature-controlled fan
At 115°C, a visual warning is displayed and the output signal is muted.
At 125°C, the loadbox is disconnected, the amplifier sees a 200-Ohm security load to help
lowering the temperature by taming the amplifier
Power supply
IEC60320 C14 power connector
Input voltage: 185-264 V AC, 47-63 Hz
Power: approx. 10 W
Dimensions
Width: 440 mm, 483 mm including rack-mounting edges
Depth: 180 mm, 230 mm including connectors and knobs
Height: 88 mm
Weight: 4 kg
Two Notes Audio Engineering
Torpedo Studio
55
Part 8
Technical support
Should you encounter a problem with your Torpedo Studio or need help regarding any technical
aspects, please note that Two Notes Audio Engineering has developed on-line services to provide
you with fast and efficient technical support, the Two Notes Help Desk which you will find at this
address:
http://support.two-notes.com/
Two Notes Website
On the http://www.two-notes.com website, you will find:
• news about the company and the products (news on the homepage),
• comprehensive information about the Torpedo Studio and its many applications (FAQ),
• firmware and software updates to download (products/Torpedo Studio/downloads),
• access to the Two Notes Store where you can buy new cabinets,
• the Torpedo BlendIR software (products/Torpedo Studio/downloads),
• an official forum where you can share tips and advice with other Torpedo users (forum).
Two Notes Audio Engineering
Torpedo Studio
57