For the past 10 years, Two notes has developed solutions for guitar and bass players so they can use their tube amps in every situation they come across studios, concerts, and rehearsals.Concert-wise, worldwide tours are now gigantic shows, with unbelievable attention made to the set, while clubs are being pressured by the reduction in the allowed legal sound level. Both these live situations lead to a similar situation: amps are not welcomed anymore. Or at least the noise they make (yes for stage managers and club owners, an amp makes noise. Even those badass boutique amps).We keep on improving our loadboxes and our speaker simulation, to offer the best playing experience to the players who know their tone comes from their amp and their pedalboard. We also give the possibility of still using the cabinet as foldback monitor for the lucky ones who can enjoy the sound of their amp on stage, while going direct to the PA.And the best advice we can give you now you go direct, is to embrace the world of in-ears. Yes, the dreaded in-ears that most of us have heard about as being stale, lifeless, etc. and that has led most to flee without testing them.« I have this sick tone ! » Too bad nobody heard it.But this, my friend, is a myth. Now that you can set your tone exactly how you want it to be with your amp, you can also set it up perfectly with your Torpedo so that what goes to the monitors and the Front Of House (FOH) is to your taste. No more mic stand that can be bundled over, no more slight movement of the mic that leads to harsh trebles and terrible sound, and no more cable lying around to trip over. But mainly, a consistent sound respectful of your tone. Why not have it in your ears exactly set to your taste, and not be liable to whatever wedge you get to be served with at any given show. The same sound everywhere and anywhere transcribing your best tone.The pick of destiny.How about hearing your pick attack again. When was the last time that you could enjoy subtle pick attacks? At home when practicing in the comfort of the silence of your room. But when the drumkit is pounding next to you (more on that later), there is no way you can really hear the dynamic difference in your wedge between your pick attacks. Your playing gets more mechanical and straightforward live. Heads or tails.And the reverb tails and delay feedbacks? How nice it would be to playfully enjoy them and let your playing breath. Being able to tell between a midsize hall reverb and a long plate reverb is wishful thinking amidst the stage noise level. You hear some kind of reverb, but too much of it and bye bye pick attack again. With in-ears, you can feel your reverb, and enjoy your dotted delay to the last repeat. This will lead you to relax your playing, let the notes breath, your effects filling the space because you can listen to them. « Do you hear me?!! »And last but not least, in-ears can protect your hearing. Remember the pounding drumkits? Your in-ears will act like earplugs taking off the right amount of decibels so that you can enjoy a long time as a player. As you will not be using a wedge anymore, the stage volume level will go down a bit, but more importantly, you will not be standing in front of a blasting wedge, desperately trying to cover the drumkit. Whistling ears after a gig is no joking matter. Damaging your hearing is irreversible. No one wants to have to stop playing his favorite instrument because of hyperacusis. Or encountering sleep disorder because of tinnitus. In-ears is a sure way to have a hand on the levels you expose your hearing to.