Two Notes Reload - Manual (Page 36)

Using Torpedo Wall of Sound
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 trapezoidal 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 microphone close to the cabinet
will result in a precise sound with a large
amount of proximity effect (depending on
the chosen microphone model). When you
move the microphone away from the cabi-
net, you increase the proportion of the stu-
dio’s acoustics (early reflections) in the over-
all sound texture.
Furthermore, depending on the cabinet model used, and especially with the ones including mul-
tiple 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.
• 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 pa-
rameter 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.
36 Two Notes Audio Engineering Torpedo Reload