User Manual

Configuring and using the TORPEDO PI-101 - Wall of Sound Edition
9 Miking
In the "MIKING" section, you take the place of the sound engineer looking through the glass to his record room.
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 position. You can move the microphone in a trapezoidal
plane that is shown on the studio visualization. Simply click on the microphone to move it or fine tune the 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 ef-
fect (dependent on the chosen model of micro-
phone). When you move the microphone away
from the cabinet, you increase the proportion
of the studio’s acoustics (early reflections) in the
overall sound.
Furthermore, depending on the cabinet model used, and especially with the ones with multiple speakers,
moving the microphone away can bring some higher frequencies back. This is simply due to the directivity of
the loudspeakers. At the maximum position (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 the maximum amount of treble, which are highly directional.
Moving the microphone away from the axis decreases the treble to the benefit of the bass response. 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%.
• 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, less with open ones.
• Variphi: The Variphi parameter is a one-of-a-kind control, exclusively found in 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. You are emulating a situation where two microphones are used, and the Variphi
parameter controls the distance (hence the phase relationship) between the two microphones. To easily
hear this effect, we recommend to start with a crunch/saturated sound on your amplifier and change
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 working. The "OFF" position is not a 0 value, but a first
shift phase value between the first and the second virtual microphone
• Overload: a loudspeaker is essentially a system designed to faithfully reproduce the sound transmitted by
the amplifier. However, a loudspeaker has some particular audio properties, including some dependent
to the power applied. 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 destruc-
tion.
• 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 sounds.
Two Notes Audio Engineering Torpedo PI-101 17