However, if my head running through the Torpedo would sound/feel more like my actual live rig (the first gen Axe-FX, while good, never quite managed it), then it may be worth sacrificing the convenience of the bells & whistles in the Axe-FX & taking my business elsewhere. Therefore I probably would still pick the Axe-FX from that point of view. & it would be a standalone solution that could live in my home studio (hence no carting my head back & forth from the rehearsal space). The Axe-FX II would be the better product from a convenience point of view as I wouldn't have to worry about tube life, warming the amp up, relying on separate bits of gear if I want an alternative sound etc.
However, I record from home & therefore am simply not in the position to mic up my actual setup when it comes to the recording side of things. get in the way of my making music.Īnyway, with this in mind, the Two-Notes Torpedo has caught my eye & seeing that the venerable Michael Wagner recommends it is certainly something to turn one's head! I realise that the 2 products don't directly compete but, in my case, either one could potentially fit the bill.īasically, when playing live I use a boost pedal into the front of a Handwired Marshall running through a Greenback loaded cab & I couldn't be happier. That being said, if it really is the best solution for what I need then it'd be silly to let my feelings on their behaviour etc. However, considering the distasteful demeanour of Fractal Audio & the people surrounding them I'm a little loathed to give them another 2.5k of my money if there's an alternative elsewhere that will do the job just as well (plus, the indefinite downtime while waiting for them to produce units is also kind of problematic for me). …also, a reamp box can give you the connections you’d ideally have to send something (like a vocal) through some guitar effects (like delays, phasers, or weird distortion boxes) and back in via DI.Here's the situation, I used to own an Axe-FX Ultra & I sold it following the news of the release of the Axe-FX II with the intention of updating. only having to have that loud bass amp pushing a loud 6X10 cab for the 5 minutes to find the right spot for the mic(s) and the 3 minutes necessary to play the song out through the reamping box into the amp then back into the daw via a nice mic/pre/converter setup. He can record his bass DI into his interface, send me the edited files, and I can record his fantastic, perfectly edited and perfectly executed playing through my collection of amps, mics, pres, etc. He also lives 2 hours away from me so he can’t just stop by. A bass player I know lives in an apartment, doesn’t own any sort of respectable bass amp, and doesn’t own any mics that would do a good job capturing low end. Rather than having your 102db guitar amp on for 6 hours as you’re double tracking (and tracking and tracking and fixing mistakes and punching in and tracking some more and waiting for the guy with the stereo to drive by) all three rhythm guitar parts on your amazing 8-minute opus, you only have to have the amp on for the amount of time it takes to play each guitar part out to the amp once.Īnother use for reamping: I have a couple really killer amps including a nice-sounding Ampeg tube bass amp. You can spend 6 hours getting the most perfect guitar takes recorded, spend a little time editing the perfect guitar takes into perfect guitar parts (which is easier to see now because the DI, not a distorted guitar signal, is recorded to the DAW) then send those guitar parts out to an amp that will only have to be loud for the amount of time it takes to play each guitar part out of the DAW one time – you just send that DI guitar signal out of the DAW, into the reamp box, then out to the amp/cab which will play back your perfectly edited and recorded pure guitar signal. You could record a DI guitar track and monitor through an amp modeling system at any time of any night or any child’s naptime.
#AXE FX II REAPER USB NOISE REAMP FULL#
Tom, re-amping is worth the trouble if you’ve got a situation in which you’re not able to run your guitar amps full throttle all day, every day, any time you’d like.