Review: Two Notes Torpedo Reload II

Like most guitarists, I’ve slowly learned that more doesn’t always mean better. After years of recording guitar amps, I realised that hauling around a 100W head and a 4×12 cab was more hassle than it was worth. These days, I get convincing results with a 5W amp, a 10-inch speaker, and a couple of well-placed mics.

Out went my Laney 100W AOR head and 4×10 cab. Foolishly, my mid-’80s Super Champ also bit the dust—to fund an Atari 1040STE, no less. Ah well. You live and learn. Eventually, I ended up with a dodgy ’70s Champ that had more issues than Woman’s Weekly, but at least I was on the right path. A small amp mic’d well can sound massive, and you won’t be upsetting the neighbours.

These days I stick with a modern Vibro Champ reissue, a 1W Valvetone head, and a handful of speaker cabs—plus the usual pedal pile. That’s the extent of my valve amp world. I can crank these little suckers up, and that’s where it ends. Still, I’ve always missed the high-wattage tone—especially the Laney—when pushed into that sweet spot.

Over the years, we’ve seen all kinds of ways to tame loud amps: isolation booths, speaker attenuators (which often sap the tone), even voltage regulators (which risk damage). More recently, a smarter option has emerged: the reactive load box.

Enter Two Notes Audio Engineering. Since 2008, they’ve focused on delivering controllable amp volume without sacrificing tone. Their original product, the Torpedo VB-101, combined a reactive load with cabinet impulse responses. Since then, they’ve refined the formula, culminating in the new Torpedo Reload II—a serious piece of gear for studio and stage.

ALL HANDS TOPSIDE

The Reload II is bristling with analogue routing and patching options that put its competitors to shame. Unlike the UA OX, which leans heavily on internal DSP and emulations, Two Notes has opted for a strictly analogue approach. No Wi-Fi, no Bluetooth, no USB—just real knobs, switches, and sockets. For those who want a digital playground, a free copy of Genome software is included, offering amp sims, IR loading, and effects within your DAW.

Importantly, Genome Reload II Edition can be integrated through the unit’s effects loop—so you’re not restricted to adding effects post-recording. It’s a clever design choice: spend the money on high-quality analogue components, and let the user decide where and when to add digital sparkle.

FORE & AFT

The Reload II is housed in a 2RU chassis, supplied with angled wooden side panels for amp-top positioning. It also includes steel rack ears for studio setups.

From left to right: a rugged power switch (US orientation), amp input level control with LED metering, and impedance indicators (4, 8, or 16Ω, selectable via a rear-mounted switch to prevent accidental bumps).

On the right are two sets of input channel controls. Each can be fed from the amp input or a line-level source. A large detented ‘CAB’ knob controls the level to your speaker cabinet. A secondary detented pot sets the level of the balanced XLR output—ideal for feeding your interface, preamp, or FOH desk. Just dial the CAB knob to zero and you’ve got a silent DI straight to your DAW. Ground lift switches are provided for each XLR out.

Tone shaping is handled by three controls per channel: ‘Depth’ (up to +8dB at 75Hz), ‘Presence’ (+8dB at 4kHz), and the ‘Mojo’ switch—designed to add “high-power feel at low volume.” I found the EQ useful for fine-tuning, though Mojo wasn’t always my cup of tea. Could be the amps I used already had plenty of mojo to begin with.