Torpedo Reload?

Mmmm, this is a surprise for me because i was planing on using it a lot that way!. Maybe there is a switch or something to enable this!, i means this is something that has to be posible with such box. or isn't?[/quote]
I emailed costumer support and they were really quick to answer back. He told me that it doesn't act like a regular DI. If I got this correct, he said that I would have to run the replay section of the Reload to make it work. From what I understood it sounds like you have to plug the out of your interface to the input of the replay section and the output of the replay section to your amp. So when you use the DI section of the reload you plug your guitar in the front, then the XLR(DI) goes to your interface to a track. So that track at the same time will output to the in of the replay. So the DI guitar has to go through the a/d to d/a of you interface before going to your amp. But I'm thinking that the latency would be an issue depending on what system you have. I use ProTools HD4 with a 12 core Mac Pro and 48 gigs of RAM in which the latency is quite good depending on how many plugins I use. But it seems kind of weird that you have to go through all that just to record a DI guitar while recording with attenuator.
But it doesn't matter to me, I'll just use my DI's. The reamp on the Reload works really good and to me is much better than using the Radial X AMP. I tried it on a client's session were I recorded the DI( I do it 99% of the time)and the amp at the same time and it sounded great! But I'm going test using it like tech told me and see how it feels as far as latency.

Dear all, the DI and Reamp section of the Reload was designed in a specific way so the Match function works properly. If you prefer to do that by ear, well, no problem. Using both is not forbidden.

So, yes, the DI signal has to go to the computer and back to the Line input. This is a wiring you only have to do once and I don't really see the issue. Having the unit patched in the studio and never moving was, IMHO, a plus, and not a problem... The final purpose is to record DI and reamp, so if it bothers you to go A/D/ and D/A to do the test recording of the amp, well, I simply don't understand why you would want to reamp?

I know it's always disturbing to change your workflow and what you were doing with previous products, but once you'll do what the manual explains, everything will make sense.

Everything is shown on page 19 and following of the user's manual (that you can find in the Downloads section of the Reload page on Two Notes website

http://www.two-notes.com/download/reload/EN_MANUAL_torpedo_Reload.pdf

About latency, well, I hope most studios have a soundcard allowing monitoring with less than 10ms latency. Set something between 2 and 5 and the guitarist won't have issues with that. Of course, if you have him focusing on that, I bet it will be an issue.

BTW, I remember my 2002 RME Multiface having what they call Zero Latency Monitoring (actually there's a couple samples of latency), a very simple routing feature so you can send back an incoming signal to the monitors (or any output) without going trough the recording software and possibly adding latency.

I have a very cheap Lexicon interface which has a "mix" or "balance" pot to control the amount of input signal you want to hear at the output, that can work too.

I've had my Reload now for a couple of weeks now and I do have some concerns.

1) I did also think that feeding the guitar into the Reload instr IN should be enough to feed both my DI and the Amp out. This was not the case and I think that it should be more clearly verified in the docs.

2) When trying the Re-amp I realised a couple of strange things
a) My clean guitar signal coming from my RME was too small gain wise (which I realised when listening to result after re-amping). At the same time the Match indicator showed green lights OK, how's that even possible?
b) Now going back to re-record and re-amping again with the RME output adjusted to 0 dB output, the amp sounded more like expected and the Match indicator still showed OK. But I know that the RME output has been increased in volume comparing it with the same real guitar input.
c) Comparing my amp sound with either plugging my guitar to Instr IN of Reload or direct into my amp's input produces a huge difference in sound. In my case, using a MS 50 on 10, I get much more distorsion going into my amp directly. Do the Reload instrument IN alter the signal making it weaker somehow?

Looking very much forward to some kind of explanation + I'm happy to send anyone at Two Notes sound samples proving my test result.

Oh, and here's my setup:
RME UCX
Cubase 7
MS 50 (1974) with extra gain mod
Gibson Flying V 1979

Guitar -> Reload -> DI -> RME -> Reload Line in
Reload Amp out -> MS 50, MS 50 speaker out -> Reload -> RME

Thanks,
Per

Hi Per,

1) I did also think that feeding the guitar into the Reload instr IN should be enough to feed both my DI and the Amp out. This was not the case and I think that it should be more clearly verified in the docs.

Click to expand...

There is a block diagram in the user's manual, I found it hard to put in the specs that the Reload is not a splitter but if you have any idea regarding how this should be said I would be glad to read it. All the pictures in the user's manual involve a DAW when it comes to doing reamping.

I understand that this function is somehow wanted, but we never stated to do that. And actually, you will have to plug your reload to your DAW, so why not doing it once and for all?

The unit was designed to be connected to a patchbay and never move from there. Once it is fully wired to the DAW, I see no issue in changing the amp from a session to another; Or maybe there is something I don't see here?

a) My clean guitar signal coming from my RME was too small gain wise (which I realised when listening to result after re-amping). At the same time the Match indicator showed green lights OK, how's that even possible?

Click to expand...

How do you find that the signal is too small gain wise?

The Match will compare the signal coming from the guitar with the one coming from your DAW. Your recorded signal can be low, as long as what is sent from the soundcard is high, no problem. I don't know if I explained correctly, I can do it like that:

what is important for Match is:

1- the guitar signal level
2- the level of the signal sent from the soundcard

If the soudcard can send a really powerful signal (say +20dBu), even with a weak recorded signal (that you could qualify as weak by looking at the waveform), it still works.

b) Now going back to re-record and re-amping again with the RME output adjusted to 0 dB output, the amp sounded more like expected and the Match indicator still showed OK. But I know that the RME output has been increased in volume comparing it with the same guitar.
c) Comparing my amp sound with either plugging my guitar to Instr IN of Reload or direct into my amp's input produces a huge difference in sound. In my case, using a MS 50 on 10, much more distorsion going into my amp directly. Do the Reload instrument IN alter the signal making it weaker somehow?

Click to expand...

The Reload Inst IN is a very typical 1MOhm instrument input.

Could you please do the following experience?

1- record a DI signal at the max volume before saturation (by setting up the proper gain on your mic preamp)
2- send back that track to Reload using the soundcard full output volume (again, no saturation)
3- make sure that Match is always on the green (and it would be interesting to have an idea where the match button is, 8h, 9h etc...)
4- if the sound is too different form your guitar in direct, what would be the position for MATCH to be close to your guitar in direct?

Could you tell me what is the amp you're using (not sure what an MS50 is)? Maybe if it has a very low input impedance that can change things, but that is strange. Maybe you should send us a message to our Help Desk so the Dev team can listen to your sample (you will be able to load files)?

Hi,

There is a block diagram in the user's manual, I found it hard to put in the specs that the Reload is not a splitter but if you have any idea regarding how this should be said I would be glad to read it. All the pictures in the user's manual involve a DAW when it comes to doing reamping.

I understand that this function is somehow wanted, but we never stated to do that. And actually, you will have to plug your reload to your DAW, so why not doing it once and for all?

The unit was designed to be connected to a patchbay and never move from there. Once it is fully wired to the DAW, I see no issue in changing the amp from a session to another; Or maybe there is something I don't see here?

Click to expand...

It's not a problem but it seems like the need of having to go through the DAW for a simple split function is maybe a bit overkill + for not so good DAWS (latency wise) that's not even working I guess.

How do you find that the signal is too small gain wise?

Click to expand...

I make that assumption hearing the result sounding too clean when I know how it should sound when connecting my guitar to the amp input directly

The Match will compare the signal coming from the guitar with the one coming from your DAW. Your recorded signal can be low, as long as what is sent from the soundcard is high, no problem. I don't know if I explained correctly, I can do it like that:

what is important for Match is:

1- the guitar signal level
2- the level of the signal sent from the soundcard

If the soudcard can send a really powerful signal (say +20dBu), even with a weak recorded signal (that you could qualify as weak by looking at the waveform), it still works.

Click to expand...

Yes I know and in my situation that was the case, i.e. the DAW's output signal level was too low

The Reload Inst IN is a very typical 1MOhm instrument input.

Could you please do the following experience?

1- record a DI signal at the max volume before saturation (by setting up the proper gain on your mic preamp)
2- send back that track to Reload using the soundcard full output volume (again, no saturation)
3- make sure that Match is always on the green (and it would be interesting to have an idea where the match button is, 8h, 9h etc...)
4- if the sound is too different form your guitar in direct, what would be the position for MATCH to be close to your guitar in direct?

Click to expand...

I will do that, to where do I send it? The MATCH position was 3h i.e. a quarter from highest position

Could you tell me what is the amp you're using (not sure what an MS50 is)? Maybe if it has a very low input impedance that can change things, but that is strange. Maybe you should send us a message to our Help Desk so the Dev team can listen to your sample (you will be able to load files)?

Click to expand...

MS = Marshall 50 = 50 W, it's a point-to-point very good sounding 1974 top When playing live I can never ever play at volume = 10 since that would be too much gain for me + the low end tends to be a bit swampy at these settings. Going through Reload I need to play at 10 but that is still not even near the amount of gain I get in a live situation.

OK, please send everything to our Help Desk, create a ticket and the dev team will help you:

http://support.two-notes.com/

Maybe there is something wrong with your Match calibration (meaning inside the product), but that is something we never saw so far, we will understand what is wrong here.

I have a Reload question, can it be connected to a Torpedo Live and then fed to powered monitors/PA/etc? And if so what connections would you use?

I've already read about connecting the Reload to the CAB pedal, just wondering if you can do the same thing with the LIVE.

Absolutely, you can connect the loadbox output of the Reload to the Line input of the Live;

May I ask you why you would want to do that?

I would advise to do this this way :

Amp speaker out -> Torpedo Live Speaker Input
Torpedo Live Speaker Thru -> Reload Speaker In
Reload Speaker Out -> speaker cabinet

(simply put, just insert the Live between the amp and Reload)

This way, the amp sees the loadbox of the Reload, so you can use a 4, 8 or 16 ohms amp. The 8 ohms only loadbox of the Live is disconnect and not used. Plus, the Reload has a more powerful loadbox. Finally, you can dial the speaker cabinet volume (with the Reload Speaker control) without having to change the gain setting on the Live.

The other way (Amp into Reload, Reload into Live, cabinet into Live Thru) is possible too, but feels less logical to me. It will work fine anyway.

guillaume_pille":2yqm8v2b said:

Absolutely, you can connect the loadbox output of the Reload to the Line input of the Live;

May I ask you why you would want to do that?

Click to expand...

Thanks, I was just curious. I'm exchanging my Reload for a Live, it's a better fit for my current needs.

Hi friends! I bought a Torpedo Reload unit and made my first recorfing attempt with the loadbox function. The chain was Jackson DK27->Randall RD100H (speaker out 16Ohms)->Torpedo Reload (Speaker In (16 Ohms) -> Loadbox out) -> E-MU 1820. There is maybe something wrong with me, but the result was disappointing... Dead, bassy, muffled sound... Please, can anyone take a listen to the file below and tell me what could be wrong... What you hear is the sound taken from the loadbox output, with no WOS III applied... I will be grateful to have an advice

Rainroom, first of all, you did try your sample with the WoS III, right?

This said, I tried your sample with WoS III, and it sounds like your amp is maybe pushed too hard, sounding fuzzy. With WAY too much bass, for sure.

Could you give us an idea of the settings you have on the amp? I have a modded RD50 here so I can check on my side.

Hi Guillaume!
First of all - thanks in advance for replying and engaging with my problem... I am sure that the problem is
with me, I do something wrong, but do not know what... Well... I will try to explain in detail my setup...
The Amp is Randall Diavlo RD100H - a real metal amp, it has tones of gain and so on... I plug my guitar
(Jackson DK27 baritone, with BareKnuckle Aftermath pickups -they are passive ones, no active electronics,
boosters, EQ or something like that involved) directly into the amp - I didn't use any Tubescreamer or other
booster in front of it... The Randall has three channels and its own boost - so I used the highest gain channel + boost at almost maximum, to get the real saturated sound I liked the amp for, volume at high level - 8/10 and after that
everething at noon - bass, mids, treble, presence and master. May be here I push the amp too much, but I feel
that what i get (you heard my sample) lacks gain instead of having too much... I use the 16 Ohms output of the amp, connect it to the speaker in of torpedo with 16 Ohm switched... What will happen if I use 8 Ohms option, which I have on the amp and on Torpedo... Will It be better? ...
After that I take the signal from the loadbox out and record it with my E-MU 1820 interface... I use a line in of the E-Mu, cause recording with a
MIC input finds the signal too hot and clips all the time, even with preamp gain at minimum... To use line in
I made XLR to jack cable, which I believe is not the problem... The sample I posted represents the outpit
from the loadbox out, without being edited in WoS III... Using WoS III makes things better, but not what it
should be, since the untreated material has problem in it... I will be very grateful if you can show me a possible point where I make a mistake... Again, I am sure that the problem is not in the RELOAD but somewhere in the whole setup, so if the discussion is not useful for the visitors in the forum, you could write a line on PM... Finally I'll post a sample with my guitar recorded properly, to show what RELOAD sounds like, since what is heard on my sample is, for sure, not representative...

OK, plenty of things here. ^^

"using WoS III makes things better"

Click to expand...

There is no way you get a usable tone WITHOUT WoS III. Nobody uses the direct signal, that sounds like a metal zone straight to the soundcard. And that is normal.

I feel that what i get (you heard my sample) lacks gain instead of having too much

Click to expand...

so I used the highest gain channel + boost at almost maximum, to get the real saturated sound I liked the amp for, volume at high level - 8/10 and after that

Click to expand...

You have TONS of gain, way too much! And I'm guessing you get distorsion from the power amp stage, that explains why the sound is farty and fuzzy.

Try this:

- lower the master volume on the amp
- lower the bass
- lower the gain, don't put the boost

If you need a fat sound, double the guitars (play twice each part) rather than trying to get a lot of distorsion from a single take.

If you can, recording your amp with the very much settings you had for the recording you posted, using a microphone and a cabinet, may help you where the problem is.

Rainroom; if you want to double the guitars - like Guillaume suggests - you can use the Reload to track a DI at the same time, and send the signal out to Reamp later. That way you get both tracks perfectly in time, and have the option to easily fiddle with the settings for the double track. The videos on their page - http://www.two-notes.com/en/hardware/torpedo-reload/ - will help show you how to route the signal and cables.

Thanks Guillaume and Richard! You are probably right - I may be pushing the amp too hard... I'll make a new attempt tonight and write a line about the result.

If I may, Richard, having two identical tracks with a different sound is not what I would call double tracking.

I'm talking about playing two times the same part, and having those two tracks in mono in the same space of the stereo field.

This is how you build a big, fat sound. And there is no need for a lot of distorsion to do that properly, but only to have a perfect right hand (if you are right-handed )

Hi Guillaume and all of you there!
Thanx again for the help - seems that things are better with me and I'll tell you what I did in detail...In advance, please have in mind that the sound

I like in general is dark, distorted beyond belief, with endless sustain and low tuned... I play very slow music, so it is important... So you may not

like the sound itself, but now I think it is closer to some standarts in general...
So, as Guillaume wrote, seems that I've been pushing the amp very hard, causing power amp distortion... The settings that I use now are: Gain 9/10 (yes I know it

is much, but I felt I need it), volume 3/10 (that is the big difference now - much quieter signal sent to power amp), bass 5/10, middle 4/10, treble 3/10, presence 6/10, master 5/10...
I turned the boost on... I recorded the left guitar twice - on two mono tracks and panned them 100% left, did the same with the right channel... May be

my bad playing is the reason I had some bad effect on the guitar tracks - some phase problem may be, kind of chors effect hehe... So I left that and what you hear on

the sample is not what it should be, but one sample copied to the two left track and other - to the two right tracks... Not real doubled guitars... But

I'll fix everything later... Everething you hear was done for a half an hour... The Important thing is that with this settings the signal from the

LOADBOX out of RELOAD was much better... To my ears even perfect... Cause with WoS III set as insert on all of the four tracks, the sound I got is a one

I really like... So about the sample... From the beginning you hear a full mix (sorry if you fing it wrong in any way - that's a different matter). At

0:18 the backing track fades out leaving only the guitar - with WoS III and an EQ applied... At 0:24 I turn off the EQ and what you hear is the LOADBOX

out signal with WoS III applied... At 0:34 I turn off WoS III on all the tracks... You hear only the output of RELOAD - not usable this way, of course... And back... At o:55 turn Wos III on again... At 1:02 - the EQ, and

after that the backing track fades in... Hope to be useful with this automation I made...For me, despite the mistakes I probably still make - I'm new to the Randall, valve amps in general, the Torpedo and who knows what else, I feel that Reload + WoS III does the job great... Hear for yourself and tell me what you think..

HERE IS THE SAMPLE:

https://soundcloud.com/rainroom/torpedo-reload

one sample copied to the two left track and other - to the two right tracks... Not real doubled guitars...

Click to expand...

If you keep the samples in sync, this is useless, if you slightly move one from the other on each side, you will experience a comb filter effect;

May I ask you what you did?

BTW I totally understand what you're aiming at, and what I hear is a huge improvement already.

I highly appreciate your interest, though really don't want to waste your time with things I believe are expained many times in the forums and don't have relation with the qualities of Torpedo RELOAD itself... Anyway - about the double tracking - I created 4 mono tracks - 2 panned left, 2 panned right... I recorded the left channel part twice and put each take on one of the left channels... Did the same with the right channel part... All the parts were in sync... I felt some kind of chorus effect, I don't know how to describe it - but parts fought one against the other, cancelled each other... May be if they are not in sync, but moved slightly the effect will be different...
The above caused me to do something, that is indeed wrong, but my aim was to test Torpedo, not my recording/playing skills... So I placed one and the same file on both left channel tracks, and another file on both right channel tracks, all in sync... I know that this is not double tracking, but I'll master that technique in the future... So this is what you hear in the sample... Yesterday I forgot to mention that there is some reverb effect on the guitars, which I haven't bypassed even when the guitars are totally stripped at the middle of my sample.. Sorry for that and have it in mind... The essence for me is that Torpedo Reload does the job... Wanted to post a new sample, not because it is the greatest in the world, but not to leave the wrong intention that RELOAD sounds like my first one... My mix and tone may be need more treatment, but what you hear is done in an hour, and I have the Torpedo an WoS III for not more than a week... Make some fast tweakings on Wos III... Everything recorded in total silence in my bedroom, while my girlfriend was sleeping... Not bad, having that in mind and I believe that this setup has potential... I'll be happy to hear more oppinions and thanx again for the support...