Two Notes Wall of Sound III - Manual (Page 18)

Using TORPEDO WoS III
9 Miking
In the "MIKING" section, you take the place of the sound engineer looking at his record room through the
glass window. By using this section, you will find the "sweet spot", the perfect microphone position for your take.
You will also be able to control speaker saturation and balance between simulated and non-simulated sound.
The first two parameters determine the microphone’s position. You can move the microphone over a trape-
zoidal plane that is shown on the studio visualization. Simply click on the microphone to move it around, or fine
tune its position with the potentiometers.
• Distance: Determine the distance between the
simulated cabinet and microphone. Placing a mi-
crophone close to the cabinet will result in a pre-
cise sound with a large amount of proximity effect
(depending on the chosen microphone model).
When you move the microphone away from the
cabinet, you increase the proportion of the stu-
dio’s acoustics (early reflections) in the overall
sound texture.
Furthermore, depending on the cabinet model used, and especially with the ones including multiple speak-
ers, 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.
• Center: Determine the distance between the axis of the loudspeaker and the microphone (placed at
right angle). The in-axis position (0%) allows for a maximum amount of treble sounds, which are highly
directional. Moving the microphone away from the axis decreases the treble to the benefit of the bass
response. At maximum positioning (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%.
• Position: in standard sound capture, the microphone is usually placed in front of the cabinet. However,
placing the microphone behind the cabinet can be quite interesting. The sound is usually softer and
darker. This is particularly obvious with closed cabinet, and less with open ones.
• Variphi: The Variphi parameter is a one-of-a-kind control, exclusive to the TORPEDO technology. It allows
you to modify the frequency content of the signal, using the properties of the sum of two signals with
different phase levels. You are emulating a situation where two microphones are used, and the Variphi
parameter controls the distance (hence the phase relation) between the two microphones. To easily
hear this effect, we recommend starting with a crunch/saturated sound on your amplifier and changing
the Variphi parameter. You will hear a periodic change in the signal with frequency modifications. Using
Variphi, you will fine-tune the frequency content of the signal, whether you are looking for a "mid-scooped"
or a "full" sound. Note that this parameter is always active. The "OFF" position is not a 0 value, but a first
shift-phase value between the first and the second virtual microphones.
• Overload: A loudspeaker is essentially a system designed to faithfully reproduce the sound transmitted by
the amplifier. However, a loudspeaker does have some particular audio properties of its own, including
some that depend on the level of power applied. The "Overload" parameter reproduces the natural
saturation that occurs when the loudspeaker is driven too hard. At maximum value, you get the sound of
a loudspeaker coming close to destruction.
• Dry/Wet: Combine the dry, unprocessed sound, with the simulated one. This parameter is particularly
interesting on clean sounds, or to search for new and original tones.
Two Notes Audio Engineering TORPEDO WoS III 17