For even more optimization in release builds, also consider the /GL (Whole Program Optimization) compiler option and /LTCG (Link-time Code Generation) linker option. can be moved around the room independently; you can change the axis "Universal Audio OX Vs. Two Notes Torpedo Studio" submitted January 19, 2018 By jim w. in New york, NY . PC. The /Ox option is an easy way to enable most optimizations without including /GF and /Gy. The Torpedo Studio can then be connected to a mixing board and PA, or to a sound interface for recording, in the studio or at home. I have yet to hear a clip that made me want to explore further but users seem to like it quite a bit. The OX is designed to accept a speaker‑level input from a tube guitar amp — there’s no amp modelling on board — whilst simultaneously offering a guitar‑speaker output via a variable attenuator, plus a digitally modelled speaker and microphone emulation, with effects, at its line outputs.

The sounds on the OX offer the same experience as a studio full of mics, cabinets, and outboard gear.

Twin Tracker is more than a doubling or delay effect. Another six‑way rotary determines the output level to a connected guitar speaker, with ‘none’ and ‘everything’ at the two extremes. The first three audio examples are progressively lower settings on the Ironman II. It was a good unit as well. The /Ox compiler option doesn't include the additional /GF (Eliminate Duplicate Strings) and /Gy (Enable Function-Level Linking) options enabled by /O1 or /O2 (Minimize Size, Maximize Speed). More than fancy words or over-engineering, these two attributes ensure that every nuance of sound and feel are translated at every level of volume attenuation, regardless of the amp, settings, or speakers. All of the examples utilize the same amp and guitar settings and were recorded in Sweetwater Studio B using two mics, a Telefunken M80 and a Royer 121, into a pair of Rupert Neve Designs Shelford 5052 mic preamps with high-pass filters at 80Hz. mic. I would love to hear some clips of the Ox with some real gain behind it. Hopefully they will add a few V30 cabs at some point and then it will be the perfect setup for how I use it. I used the same amp and guitar settings, plugged into the OX, and from there into a pair of Rupert Neve Designs Shelford 5052 mic preamps. I felt no desire to start tweaking tone control settings on the amp as I went down the attenuation ranges, and that’s the biggest clue that the OX is keeping the amp happily convinced that it is driving a normal speaker at all settings. MSVC Compiler Options The other speaker parameter is Speaker Drive — an intriguing process of gradual virtual ‘ageing’, through to level‑induced speaker distress at the top of the scale. Navigating on the front panel when playing live to make some changes is a pain on the STudio. Do you prefer the sound of your amp on 7, but you have to play it on 3 to keep the singer happy? Two notes torpedo live vs torpedo studio? Of course, four outputs, with separate close mics and a stereo room, or even three, with separate close mics and a mono room, would have been great. it’s so small and lightweight makes the Captor X ideal for stage, It’s designed As far as I can tell, nothing much happens if you mismatch this setting except that the output gets slightly louder or quieter, depending on which way you are mismatching. The latter includes the phenomenon sometimes referred to as ‘cone‑cry’, which can exhibit as a ‘false harmony’ note or various forms of intermodulation distortion. Sweetwater Sound The impedance curve makes or breaks a reactive load box. After all, the amplified life of the signal starts at the amp; if the amp isn’t behaving normally your chances of creating a convincing speaker emulation are inherently compromised. Using a locking female jack makes this feel a bit more secure. Each of these four units are also designed around a “reactive” load, which responds to the input it’s given, much like a speaker does. The Live sounds good, too, but the components in the Studio, plus the 4/8/16 ohm options were worth the upgrade. Anyone know if I can I transfer my purchased cabs from the live to studio if I upgrade? All the DSP resides in the OX itself, so once you’ve tweaked and stored a few settings that you like, you don’t need to keep the remote control app running. Universal Audio OX. studio, or home. Sensible monitor upgrade from Mackie Hr824?? The fourth example is the Champ and its internal 8″ speaker, as a point of reference.

IRs, or make your own “cabinet blends” with Two Notes’ Blend IR This means the full sound of your amplifier, including its power section, is captured and available at any volume level. The new Universal Audio OX is the perfect combination of analog and digital, and is a must-have for every guitar player, studio owner, and live music venue. further dial your sound, the Captor X has powerful post-mic It fit into my budget. At over 14lbs, it feels like it ought to have an amp‑like mains transformer in it, but it actually has a 12V external DC PSU, albeit with a reassuringly robust four‑pin XLR locking connector. Select the Configuration Properties > C/C++ > Optimization property page. I can't imagine the torpedo studio has much better converters than the RME. The Suhr RL is by far my favorite. Level-matched versions of Ironman II at 0dB, -8dB, and -15 dB. There’s also a line output that is not speaker compensated, so you can chain to a different amp. Studio is crisper and just more lively/open/dynamic. All these parameters can be stored as presets in the OX app for Mac, Windows, and iOS. These units tame your amp by placing a “load” on the output of the amplifier, which is normally the job of the speaker cabinet. In my view, that is more than adequate to capture anything electric guitar related. Personally, I prefer not to have much ‘baked‑in’ room ambience on a guitar signal, and would always rather add it as needed while mixing, but the OX room signals are so ‘just right’ that I find it worth recording them, even in mono, so long as I can give them their own output.

The Ironman II’s reactive load matches the impedance curve of a speaker in use, so it feels and sounds like your amp. The box also has its own companion smartphone app. The ageing effect to be found further down the Speaker Drive scale, however, is very subtle and eminently usable, softening the attack and smoothing the distortion a little, just like a favourite old speaker with a good number of miles on the clock. The only tonal differences you’ll hear are from the OX: compression, EQ, delay, reverb, and the changing of mics and speaker cabinets. However, the Studio has better (so I hear) converters. The /Ox compiler option enables a combination of optimizations that favor speed. And the speaker cabinets I tend to like and use the most are also the ones I prefer in the OX. UA’s OX enters this market as something of a hybrid, being both attenuator/dummy load and speaker emulator in one box, with French company Two Notes Engineering’s Torpedo Studio dummy load and speaker emulator perhaps being the closest functional equivalent. Take a listen. Transformer-coupled attenuation preserves tone in two ways: first, a transformer — as opposed to a resistor ladder — will not be seen as an extra load on your amp’s output; and second, it will prevent a voltage divider from being formed between the dividing network and your speaker, so your speaker’s frequency-dependent variables remain intact. 07/08/2020; 2 minutes to read; In this article. Can't I just leave the master on one side of the head down all the way and crank the other side?

Exclusive deals, delivered straight to your inbox. I thought I saw someone from this forum saying they upgraded from the Live to the Studio because it was better sounding. It's a solid unit and to be honest with you, I really like it. For these sound samples I started with a Fender Telecaster plugged into a Fender 65 Deluxe reissue head.

The price for a Torpedo Live also makes me think it's a no-brainer.

Speaker Volume offers a level‑controlled feed to a guitar speaker whilst Line Out governs the modelled speaker and mic output, with the room‑mic mix independently adjustable. The OX’s all‑in‑one solution means that the sound you hear as you’re playing is the sound you are recording, with negligible latency (under 3ms). The OX can be used with or without a speaker cabinet, and the direct line-level signal is fully independent. That said, one of the factory rigs that the OX ships with so perfectly fitted my tastes that I could still have made great use of this without ever firing up the app, so maybe Android and Windows guys should still check it out. to sound like another guitar playing with you. Over the last 5 years, I’ve had the Live, Studio and OX. Whatever your needs for taming your amp, these four units offer amazing tone and flexibility, each in their own way.

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