Two Notes Torpedo Studio

Simulador de altavoz y micrófono para guitarra y bajo

  • Procesador digital con ecualización y dinámica
  • Caja de carga integrada con control de calor activo: 150W RMS, 200W pico - 4, 8 y 16 Ohmios
  • Entrada de línea balanceada: 2 XLR
  • Salida de línea balanceada: 2 combo jack de 6,3mm y XLR
  • Ventilación controlada y seguridad térmica
  • Entrada de alimentación (salida del altavoz desde el amplificador)
  • Salida de alimentación para conectar una cabina
  • Salida DI sin conversión AD/DA (salida pre sim.)
  • Latencia de 5ms
  • 24 bits
  • Convertidores AD y DA de 192kHz
  • Coma flotante de 32 bits
  • Procesamiento interno de 96kHz
  • Relación señal-ruido de 100dB
  • Entrada/Salida AES/EBU y S/PDIF de hasta 96kHz
  • Sincronización Wordclock o AES/SPDIF, internos
  • Software Torpedo Remote
  • Compatible con PC y Mac
  • Manejo de MIDI (cambio de control y cambio de programa en tiempo real)
  • Comunicación Ethernet opcional
  • Incluye cable USB, cable de alimentación, manual de usuario y software Torpedo Remote y Torpedo Capture (descarga disponible en el sitio web)
  • Dimensiones: 19"/2U
7 Evaluaciones de usuarios:
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  • 4
  • 3
  • 2
  • 1
5 / 5.0
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Two Notes Torpedo Studio

MartinCoolMusic, 24.08.2016
El Torpedo Studio es la herramienta más versátil que conozco hasta ahora para grabar en casa o en un estudio profesional un amplificador de guitarra o bajo.

El equipo se conecta mediante un cable de altavoz a la salida directa del amplificador de potencia (idealmente a válvulas) y simula tanto el sonido del altavoz del amplificador como los micrófonos utizados en la grabación. Dispone de una resistencia interna que disipa la potencia del amplificador.

Es por tanto una herramienta que permite grabar con una calidad excepcional un amplificador, sin tener que tocar a un gran volumen. Es por tanto ideal para un home studio o un estudio profesional donde no se disponga de mucha variedad de micrófonos o pantallas de amplificación.

El equipo permite grabar en estéreo, empleando la simulación de dos micrófonos y dos pantallas al mismo tiempo, detalle que no permite el otro modelo Two Notes Live.

Además tiene salida digital directa de grabación (AES/EBU), que tampoco tiene el Two Notes Live (éste sólo tiene SPDIF). La principal diferencia es que te permite manejar digitalmente señales de grabación estéreo y sincronizar como maestro o esclavo con el reloj de la tarjeta de sonido.

La calidad del sonido es abrumadora, de alta fidelidad y depende de la habilidad que tenga cada uno para colocar los micrófonos y elegir adecuadamente las pantallas de altavoces.

En resumen, indicaría las siguientes ventajas e inconvenientes:

Ventajas:

- Altísima calidad de sonido y realismo.
- El software es muy intuitivo y fácil de utilizar.
- Permite grabación analógica o digital directa en estéreo, mezclando diferentes pantallas y micrófonos.
- Dispone de gran variedad de pantallas y micrófonos.
- Permite utilizar los amplificadores reales que cada uno tenga disponibles.
- Permite tocar a muy bajo volumen aún teniendo el amplificador de válvulas saturado, dado que el sonido de la pantalla es simulado.

Inconvenientes:

- Si se quiere disponer rápidamente de un sonido muy pulido y listo para mezclar en una grabación, requiere tiempo aprender a colocar y elegir los micrófonos y pantallas, tal y como si se grabara en un estudio real.
- El modelado de etapas de potencia de amplificadores es algo escaso y se centra en el modelado de pantallas y micros.
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Fantastic product, unbelievably authentic

27.04.2016
As a guitarist, I always found myself gravitating towards whatever sounded best to my ears, and ignoring all the "but nothing beats tubes/analogue/whatever". During my journey to find an ideal guitar tone for my musical project I tried a whole host of methods ranging from software amp sims, hardware simulations, rackmount preamps, heads, cabs, everything I could think of. Ultimately, I found that I preferred the sound of a real tube amp turned up loud enough to really get the speakers moving.

There were two huge issues though: my tone differs so much song to song, and has so many effect changes that I simply could not use a guitar head live. The second issue is volume. When I set up an amp head with a cabinet, I dial in a tone at a moderate volume, and then turn the master volume as high as it needs to go to push the power tubes and speakers hard enough, before finally tweaking the preamp tone to suit the extra power (usually a fair reduction in preamp gain). This is just fine in most rehearsal or studio situations (with one exception where workmen using power tools nearby complained about the excessive volumes!), but live and at home in a flat, I'm massively restricted volume wise. This led me (along with my need for MIDI presets) to a rig consisting of a SansAmp PSA-1, Marshall JMP-1 and a Rocktron Piranha, usually with at least two amps running at the same time. Cabinet simulators that have a loadbox with a couple of switches letting you pick two cabs and two mic positions just seem like a total waste of money, especially given how different guitar cabs sound, and that?s before you start moving the mic!

Enter the Torpedo Studio... I've had my eyes on the Torpedo VB-101 since it was releaed, and later had my eyes on the VB-202. However, when I heard that the latest Two Notes product would be able to run two virtual power amps/cabinets from two inputs, or one amp head AND a line level preamp, I HAD to have it. While in Germany, I visited the lovely people at Thomann in Burgebrach, and bought myself the Studio as somewhat of an impulse buy

On returning home I put it through its paces, and found that I had discovered the core of my guitar rig. The Piranha and JMP-1 both sound best through a tube power amp, and I was pleasantly surprised with the power amp simulation in the studio. Having tested it side by side with a Mesa Boogie Triple Rectifier power amp (i.e. rack preamp fed into the effects return of the head, and the speaker output fed into the Torpedo Studio), the difference is much more down to taste than "good or bad" and . In a mix, I find there to be so little difference when compared A/B that I frequently don't bother using any form of power amp at all when tracking high gain tones. The absolute bulk of the tone appears comes from the combination of preamp type/settings, cabinet choice and mic choice/position, along with blending of different tones and layering different takes.

However, when I'm needing the sound of a tube head, the Studio comes into its own. Living in a flat in London, there's no way I'd EVER be able to play something like the Rectifier at home, and I can't currently justify the money to rent a permanent studio or rehearsal space, let alone the time to keep travelling there! Yet I've recorded whole songs with the Rectifier at 4am without my sleeping partner in the next room even knowing I was playing guitar... if I were to have used a cabinet, I would have literally woken up hundreds of people with the noise, bad move! I the heat of the summer I can hear the sound of a gentleman down the road badly playing Hendrix on a tiny practice amp, sound travels a long way in a city!

The thing that makes the Studio stand out the most to me is the sheer range of tones you can get out of it. Impulse responses only have one sound, and when you're striving so hard to NOT sound like everyone else, you need maximum freedom... there's only so much tone shaping you can do with the preamp controls and post IR EQ and effects. To top it off, the Studio HAS some of those post mic effects in the form of low cut, 5 band EQ, an exciter and compressor, all of which are perfectly suited to live work where you'd normally need yet another rack unit before the PA to get the same thing. In the studio, they're also useful tools, but can easily be turned off and replaced with your normal go-to DAW effects or outboard units.

Another benefit is the way you can walk into a guitar shop with the Studio and play any amp at any volume (after talking nicely to the staff of course) without annoying people! As much as flashy riffs make you look cool in a shop, the palm muted rhythm sounds that form the basis of my music are FAR harder to obtain than lead sounds, and playing the same riff for an hour through 5 different amps at 120+ decibels starts to wind people up, especially when you DON'T like any of the amps and leave without buying anything! I personally don't feel like justifying disrupting a shop buy having to buy something there and then, especially given that I really don't seem to get on with a lot of amps that appear to sound nice at low volumes. In fact, the only shop where I have ever felt welcome to play multiple amp heads full volume is at the Thomann shop...

The Studio shines live as well... think about any major music act at a large venue or festival. 90%+ of the guitar sound comes from the PA, perhaps closer to 100% for those standing 100+ metres from the stage! The studio allows me to play at any volume at all, with the same tone and same effects, EVERY night, without fail. I just keep hitting the "next patch" pedal, and MIDI changes the preamps, effects units and studio in an instant, with zero hassle, and no messing about with pedals or complex foot controllers. I've even had the entire setup entirely controlled via sequencer, which is easily done when the drummer is synced to a click track (a necessary evil when you have enough sampling and keyboards to need a multi-armed Hindu god as a keyboard player).

While it doesn't have the "record any cabinet you own" type flexibility of something like the Kemper profiling amp unit, where you can set up in the studio and capture a set-list full of tones to play with absolute ease using JUST the Kemper unit, it does mean that you've got the freedom to actually experiment, not just play back exactly as it was recorded (albeit with a degree of simulated tone control). The studio is ideal for those of us who are seldom able to play at full volume, but still want to use the real deal amp wise!

A rather under-advertised benefit of the Studio (which took me months to figure out) is the free copy of Two Notes Wall of Sound that you get! You simply download Wall of Sound, and you instantly get as many virtual Torpedo Studios in VST form as your computer can handle. You can literally have 5 versions open running VST amp sims, each with 4+ cabs/mics/power sims at once... utter insanity, and SO useful for running things like keyboard or samples through the power amp section without having to hook up your physical Studio as an outboard effect. Bands like Depeche Mode are very well known for running synthesisers through guitar amps and speakers, and Matt Bellamy of Muse turns re-amping sounds into an art form? be it as obvious as the vocals in ?Hysteria? or as perfectly blended as the middle eight of ?Apocalypse Please?. The Studio also links up perfectly with the Torpedo Remote software, allowing real-time VST style editing of all your presets, as well as backing them up.

Ultimately, the Studio is probably the most useful piece of studio equipment I own, as without it, a lot of my other equipment is rendered useless in day to day playing!
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