Мануал для axe fx

• Page 1: Effects Processor

  Axe-Fx Pre-Amp / Effects Processor User’s Manual…

• Page 2: Table Of Contents

  Table of Contents Table of Contents …………….1 Foreword……………….. 3 Introduction ………………5 What is the Axe-Fx ………………5 Concept ………………… 8 Getting Set Up …………….. 10 Rear Panel ………………..10 Front Panel………………..11 Example Connections …………….13 I/O Configuration ………………18 Editing………………..

• Page 3
  Status …………………. 76 Reset ………………….. 77 Firmware ………………..77 Tips and Tricks …………….78 Achieving ultimate tone …………….78 Using Your Axe-Fx with a Guitar Amp…………. 78 Using Your Axe-Fx Live…………….80 Interference ………………… 80 Maintenance……………….. 80 Warranty Information …………… 81…

• Page 4: Table Of Contents

  Keep power cord in good condition. Do not kink, bend or pinch. If power cord becomes damaged discard and replace. If not using your Axe-Fx for extended periods of time disconnect from AC mains. Protect the unit from rain and excessive moisture.

• Page 5
  Certificate of Conformity Fractal Audio Systems, USA, hereby declares on own responsibility that the following product Axe-Fx — Digital Guitar Preamp / Effects Processor That is covered by this certificate and marked with CE label conforms with following standards: EN60065…

• Page 6: Foreword

  Foreword Shortly after the advent of the electric guitar and the amplifier, guitar players began to experiment with altering the basic sound of their instruments. Amplifiers soon began to incorporate spring reverb units and then tremolos and overdrive circuitry. Never satisfied, guitarists yearned for even more sonic possibilities and the effect pedal was born.

• Page 7
  All processing is done at 32-bit precision yielding uncolored, transparent sound. We hope you enjoy using the Axe-Fx as much as we enjoyed designing it. Over three years of development have gone into making what we hope is the quintessential effects processor.

• Page 8: Introduction

  What you will see are modern, high-quality components that offer specifications and performance far exceeding any of the aforementioned devices. 1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel. Introduction 5…

• Page 9
  Routability: The Axe-Fx allows you to place effects in any order and in series or parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a preamplifier you can place the preamplifier in the effects loop and run effects both before and after your preamp.
• Page 10
  Almost all the effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi- Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp blocks you can achieve a true stereo, dual-amp rig for really huge sounds.

• Page 11: Concept

  Concept The Axe-Fx works on the concept of an effects inventory and an effects grid. Figure 1. Axe-Fx Concept The effects inventory is a virtual stockroom of effects. Effects are removed from the inventory and placed into the effects grid. The grid is a four row by twelve column matrix.

• Page 12
  Figure 2. Effect Block I/O Structure The Output Mixer (the block labeled “OUTPUT” in Figure 1) sums the signals from the four rows. The Output Mixer allows mixing and panning of the four rows and overall level control. Figure 3. Output Mixer Introduction 9…

• Page 13: Getting Set Up

  Figure 4. shows the rear panel of the Axe-Fx. Figure 4. Rear Panel 1. Input1 — Connect line-level input sources to these jacks. If using the Axe-Fx as an effects processor use these jacks and be sure to set the…

• Page 14: Front Panel

  O U T 1 C L I P — O U T P U T 1 that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floating- point numbers so clipping is virtually impossible. These values are then converted to 24-bit fixed-point numbers prior to being output.

• Page 15
  This button brings up the I/O Setup menu. This menu allows you to configure I / O — the various audio and control options of the Axe-Fx. See the I/O Section for more details. This menu contains various utility functions. See the Utility section for U T I L I T Y — more details.

• Page 16: Example Connections

  Pressing this button bypasses the Axe-Fx. The LED on the button is lit B Y P A S S — indicating the bypass state. Press the button again to defeat the bypass. Pressing this button twice in rapid succession restores all parameters of the selected effect to their default values.

• Page 17
  This configuration also allows you to use the Axe-Fx amp simulations as well. In this way you can use the outboard preamp for certain sounds, and the Axe-Fx for others. Be warned, however, after using the Axe-Fx’s amp sims you may find your…
• Page 18
  Below are two possible configurations for using the Axe-Fx with a combo amp (or head and cabinet). In the first configuration the Axe-Fx is simply used in the effects loop of the amp. The second configuration is more complicated but allows effects both before and after the amp’s preamp stage.
• Page 19
  Since the system is full-range the Axe-Fx’s cabinet simulation should be active. The configuration shown would be typical of using the Axe-Fx straight into a FOH mixer. Your sound man would then send you your sound back into your stage monitor(s).
• Page 20
  Recording Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs (analog or digital) to a mixer, computer, etc. Getting Set Up 17…

• Page 21: I/O Configuration

  D I G I T A L main input and slaves all clocks to this bit stream. The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be sure that its sample rate is 48 kHz.

• Page 22
  To set up the control for an item simply turn the value dial to select the MIDI continuous controller number (or desired pedal) that will control that item. The Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the desired item to control and press .
• Page 23
  Flanger 1 will be set to the value of the controller. Note that the Axe-Fx uses negative logic for the bypass state. A controller value of zero bypasses the effect and non-zero the effect is active. So if the controller value equals zero, effect off, controller value greater than zero, effect on.
• Page 24
  Latching footswitches alternate between contacts closed and opened each time the switch is depressed, they usually click. Internally the Axe-Fx stores a state for the pedal. For momentary footswitches depressing the switch toggles the internal state between 0 and 1. When set to latching the state of the contacts sets the internal state: contacts closed = 0, contacts open = 1.
• Page 25
  To calibrate a continuos pedal connected to press P E D A L 1 E N T E R P E D A L 1 C A L — and move the pedal through its full range several times. Press again when E N T E R finished.

• Page 26: Editing

  Editing Eventually you’ll probably want to build your own presets. With the Axe-Fx this is easy and straightforward. There are three basic steps: placement, routing and effect editing. Placing Effects Press the button. Use the buttons to get to the page.

• Page 27: Moving Effects

  Axe-Fx contains an auto routing feature. By pressing and holding E N T E R the Axe-Fx will automatically change an empty block to a shunt and place a route. Simply hold down until the chain completes routing to the output.

• Page 28
  Every effect in the P A N Axe-Fx has stereo outputs. With the control at 12:00 the signal is equal in both the left and right channels. Turning the control left or right pans the signal accordingly.

• Page 29: Output Mixer

  See the Controllers and Modifiers chapter for more details. Saving Presets All editing in the Axe-Fx modifies data in what’s known as the “edit buffer”. Upon saving, the contents of the edit buffer are written to a memory location. If a new preset is recalled prior to saving all the edits are lost.

• Page 30: Recalling Presets

  Recalling Presets Recalling a preset on the Axe-Fx is done simply by pressing the button R E C A L L and turning the dial until the desired preset is selected.

• Page 31: The Effects

  The Effects The following sections describe the individual effects and their adjustable parameters. Noise Gate The Noise Gate is not a routable effect. It is always connected directly to the main inputs. To edit the effect go to the page in the menu.

• Page 32: Filter

  gain distortion can lead to excessive noise or squealing. The Compressor can also be placed near the output of an effects chain if desired to even out the response if using, say, two different distortion types. The low-gain distortion can be followed with a Compressor to even out its response compared to a high-gain distortion.

• Page 33: Graphic Equalizer

  To use the Filter/Boost module as a treble booster set the to either T Y P E H I G H P A S S . Experiment with the controls to achieved the desired B A N D P A S S F R E Q effect.

• Page 34: Parametric Equalizer

  The Graphic EQ can also be used as a booster. To use the EQ as a booster simply emphasize the desired frequencies and set the level as desired. For a treble booster, for example, one might boost the 2K, 4K and 8K by 6 dB or so and turn the level up 12 dB.

• Page 35: Chorus

  A chorus subtly delays the input signal by a varying amount and mixes it with the undelayed signal. The varying delay slightly detunes the signal so the result is one of multiple instruments playing in unison. The Axe-Fx Chorus is a stereo multi- voice chorus. It uses a very computationally demanding algorithm but delivers exceptionally smooth sounding ensemble effects.

• Page 36: Flanger

  Advanced Parameters Adjusts the bass response of the wet signal. The bass can be boost or cut B A S S — up to 12 dB. Adjusts the treble response of the wet signal. The treble can be boost or T R E B L E — cut up to 12 dB.

• Page 37
  A flanger is similar to a chorus but uses a shorter delay time and feeds back some of the effect signal back to the input. It was originally intended to duplicate the sound of two tape decks that were synchronized together and then pressing on the flange of one of the tape reels (hence the term flanging).

• Page 38: Phaser

  The Axe-Fx Phaser is extremely powerful allowing from 4 to 12 stages along with a feedback control for producing even more dramatic effects.

• Page 39: Rotary Cabinet

  Controls the frequency of the Low Frequency Oscillator. Set fully CCW to R A T E — sync to the Global LFO1 oscillator. Controls the sweep depth of the LFO. D E P T H — Resonance control. Controls how much of the wet signal is fed back to the R E S — input.

• Page 40: Wah-Wah

  Jimi Hendrix’s «Voodoo Chile» to, well, Stevie Ray Vaughn’s «Voodoo Chile» the wah continues to hold a unique place in the annals of rock history. The Axe-Fx Wah is the embodiment of this legacy but with modern reliability and control. Also, the unique control input processing of the Axe-Fx eliminates the «zipper effect»…

• Page 41: Formant Filter

  A wah is actually a very straightforward device. The signal is passed through a high-Q filter whose frequency is controllable. The Wah may be placed before distortion for a subtler, classic sound or after distortion for a more prominent and aggressive sound.

• Page 42: Pan / Tremolo

  For example the vowel sound «eee» can be reproduced with a bank of narrow bandpass filters with various frequencies and amplitudes. The Axe-Fx Formant Filter allows «talk-box» effects without the fuss and muss of the real thing.

• Page 43
  The Axe-Fx Pan/Tremolo provides, as the name would imply, panning and tremolo effects. A panner moves the sound left/right in the stereo field while a tremolo varies the volume. Tremolo can be used to get that classic «surf» sound especially when used with some spring reverb.

• Page 44: Delay

  Digital delays address all of these shortcomings while providing longer delay times. The Axe-Fx contains two different types of delay blocks. The regular Delay, described here, is your basic digital delay (with a few enhancements). We’ll talk about the Multi-Delay later.

• Page 45
  The Delay also contains two delay time modulators that can be used to slightly modulate the delay time. These can be used to add depth to the echoes or to simulate an old tape-based echo unit. One can be used, for example, to simulate the slow fluctuation of a worn belt in a tape echo with the other simulating a worn capstan (wow and flutter).
• Page 46
  Locks the time to the global tempo. For example, if the global tempo is 120 T E M P O — bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat).
• Page 47
  Locks the delay time to the global tempo. For example, if the global T E M P O L / R — tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat).

• Page 48: Multi Delay

  Multi Delay The Multi-Delay is a rhythmic delay block with five sub-algorithms: Quadtap delay, Plex Delay, Plex Detune, Plex Shift and Band Delay. Delay times can be controlled by tempo allowing for rhythmic patterns to be easily created. The following diagrams illustrate the various algorithms. Parameters vary by type but are listed together for ease of reference.

• Page 49: Band Delay

  Band Delay Parameters Scales all the delay times. Attach a controller to this for real-time M A S T E R T I M E — control of the delay times. Scales all the output levels. Attach a controller to this for real-time M A S T E R L E V E L — control of the echo levels.

• Page 50
  Sets the ‘Q’ of the delay line output filter. Higher values result in narrower bandwidth. The Axe-Fx uses a constant power algorithm so higher Q’s increase the gain of the filter. As such, use caution as overloads could result with some program material.

• Page 51: Reverb

  A speaker and microphone were placed in the room and the reverberated sound was recorded. Digital processing excels at simulating reverberation and the Axe-Fx has one of the finest reverbs you’ve likely heard. A proprietary bandpass comb-filter algorithm provides extremely dense and smooth reverbs with no graininess or metallic qualities.

• Page 52
  Plate reverbs are characterized by their smooth yet bright sound and were popular in the 70’s and 80’s especially for vocals. The Axe-Fx Plate simulation captures the «shiny» sound of a plate reverb but without all the complicated setup. The Axe-Fx Reverb edit menu has three pages. The basic page has the most commonly used of the parameters below.

• Page 53: Amp Simulator

  Amp Simulator Without distortion the electric guitar probably wouldn’t have had nearly the impact it has had on popular music. The Axe-Fx contains multiple distortions based on emulations of various amplifiers. As mentioned earlier the Axe-Fx is not a modeler however these emulations provide sonic characteristics very similar to the amplifier they are emulating.

• Page 54
  The Axe-Fx philosophy is to provide the control as a more useful tool rather than a strict replica of the original. In this regard the tone controls on the Axe-Fx are true cut/boost equalizing controls and do not interact.
• Page 55
  • — Based on a small, low-power, tweed-covered amp. The original had no T w e e d controls other than volume. Set all tone controls to ‘0’ for authentic tone. Adjust as desired to venture into new sonic territory. Our simulation has a bit more gain than the somewhat anemic original to allow you to dial in a nice crunch.
• Page 56
  • — A medium-gain, thick, yet crisp, sound with a fair amount of power B o u t i q u e 1 amp breakup. Based on a now-defunct amplifier that was renowned for it’s liquid tone and endless sustain. This amp had very unique tone controls and as a result a distinctive voice with a bell-like quality.
• Page 57
  British tone-stack. Capable of searing rhythm and lead tones. • — Spandex, studded wrist bands, pyrotechnics and your Axe-Fx are all B i g H a i r you’ll need to relive the 80’s metal scene. This custom type has a unique voicing and tone-stack that emphasizes mid frequencies without getting muddy.
• Page 58
  “pull on” switch. On others the circuit is hard-wired. The Axe-Fx amp types default to a particular state for the bright switch. If the amp had a hard-wired treble peaker the default state is on. If the amp had no circuit at all the default state is off.
• Page 59
  Conversely you gain reduce this value to achieve a darker or less brittle tone. If using the Axe-Fx along with a separate tube power amp you may wish to experiment with this control to achieve the desired tone as the power amp may have it’s own high-frequency filtering.
• Page 60
  NOTE: Turning this control fully CCW defeats the power amp simulation. If you are using the Axe-Fx into an external tube power amp and cabinet you may want to set this control to zero to defeat the power amp simulation.

• Page 61: Cabinet Simulator

  L E V E L , P A N , B Y P M O D E — Cabinet Simulator The Axe-Fx contains 20 cabinet simulations. These simulations recreate the tonal characteristics of a variety of different speaker and cabinet configurations. More than just simple filters, the cabinet simulator actually captures the subtle frequency response variations inherent in a real guitar speaker.

• Page 62
  Parameters Selects the cabinet simulation. The following simulations are available: T Y P E L / R — • — 6×9 oval (like in an automobile) speaker used in some early 1 x 6 O v a l amplifiers. Match this up with a Plexi model and crank out some Zep. •…

• Page 63: Drive

  When ON, the right channel speaker and mic type change when the left L I N K — channel type is changed allowing for quick evaluation of the various types. You can still override the right channel types if desired. Sets the output level for the left and right speaker/mic.

• Page 64: Pitch Shifter

  Selects the bypass mode of the block. B Y P M O D E — Pitch Shifter The Axe-Fx Pitch Shifter has 6 basic modes of operation: Detune, Fixed Harmony, Intelligent Harmony, Whammy, Octave Divider and Crystals. The mode is selected on the page.

• Page 65: Intelligent Harmony

  Sets the delay time of the as a function of the tempo. V O I C E 1 , 2 D E L A Y — Locks the delay time to the global tempo. For example, if the V O I C E 1 , 2 D L Y T E M P O — global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat).

• Page 66: Octave Divider

  Adjusts the output pitch. Attach to a controller for dynamic control of the C O N T R O L — pitch. Setting this to instructs the pitch shifter to track the pitch of the N O T E T R A C K — input.

• Page 67: Stereo Enhancer

  I N P U T 2 / E F F . R E T U R N jack. The Axe-Fx senses if the effects return is not used and then just uses the loop as an output.

• Page 68: Mixer

  To use the effects loop as an on-stage monitor with a guitar amp (or head and cabinet) place the loop BEFORE any cabinet simulation blocks. For example, if you want to send a fully processed, stereo feed to the P.A. system and monitor your sound on-stage you would set up a chain like the following: A M P — C H O R U S — D E L A Y — R E V E R B — E F F E C T S L O O P — C A B I N E T Note that the effects loop is before the cabinet.

• Page 69: Feedback Send / Return

  Each gain control corresponds to a row in the routing matrix. To adjust, for example, the gain for the effect in row two preceding this block, simply adjust G A I N 2 controls allow you to select the balance of left and right from each row P A N summed into the outputs.

• Page 70: Controllers And Modifiers

  Tempo can also be tapped in using a pedal or MIDI CC message. There are two tempo constructs in the Axe-Fx. The System Tempo is the tempo currently being used. The Global Tempo is the last entered tempo. Entering a new tempo automatically updates the System Tempo and sets the Global Tempo to equal the System Tempo.

• Page 71: Lfo’s

  Selects what tempo to use when recalling the preset. Selecting T E M P O T O U S E — tells the Axe-Fx to set the System Tempo to the tempo stored with the P R E S E T preset.

• Page 72: Sequencer

  The time to go from the peak level to the sustain level. The second line in D E C A Y — the graph. The time the sequence remains at the sustain level. The third, flat, line. S U S T A I N — The sustain level in percent of full-scale.

• Page 73: Pitch

  Pitch The Axe-Fx has a fast built-in Pitch detector. It is completely automatic and has no adjustable parameters. The value from the pitch detector is proportional to the frequency of the note played, higher notes give a higher value. If multiple notes are played at once the pitch detector will attempt to find the lowest pitch but may not be able to lock onto it.

• Page 74
  To remove a modifier select the parameter with the navigation buttons and press . Set the source to none then press exit. This will remove the modifier and E N T E R restore the parameter’s value to its stored value. Parameters This is the controller that will be used to control the parameter.
• Page 75
  The damping control is also effective when using an expression pedal to control a parameter. It can help smooth out the pedals response, especially if the pedal’s potentiometer has gotten “scratchy”. Detaching a Controller To detach a controller set the source to and press E X I T N O N E…

• Page 76: Global Parameters

  Here O U T 1 O U T 2 you can make adjustments to the basic tone of your Axe-Fx that affects all presets. This comes in handy when using the Axe-Fx in different environments where the acoustics may vary.

• Page 77: Tuner

  This sets the reference frequency for the tuner. C A L — When set to this mutes the sound out of the Axe-Fx when in the tuner M U T E — menu. When set to…

• Page 78: Utilities

  Preset Update This function allows you to update all presets to the latest protocol. The Axe-Fx can read presets stored in either version 1.0 or 2.0 protocol. When a preset is saved it is saved in the latest protocol.

• Page 79: Status

  CPU utilization is approaching 90% you may not be able to add a desired effect to the preset. Naturally some effects use much more power than others, the amplifiers using the most. The Axe-Fx does not allow the total CPU load to exceed 98% as the unit could then become unresponsive.

• Page 80: Reset

  Reset To reset all the factory parameter in your Axe-Fx select this page and press . This will reset the Global parameters, the MIDI configuration, Continuous E N T E R Controller setup and Pedal configuration. This will not clear or otherwise alter any preset information.

• Page 81: Tips And Tricks

  EQ can make a HUGE difference in sound. Try placing EQ before AND after the amplifier block. Subtle EQ adjustments can tighten up the sound or increase the depth. The Axe-Fx has a lot of EQ resources for just this reason. Take advantage of them.

• Page 82
  If you are connecting the Axe-Fx to a tube power amp as well, then once again the signal is effectively passed through a power amp twice (once in the Axe-Fx, once in the external tube amp).

• Page 83: Using Your Axe-Fx Live

  The Axe-Fx is designed with live performance in mind. For the ultimate in portability you could simply plug your guitar into the Axe-Fx and then plug your Axe-Fx into the P.A. mixing board. Send some signal to the mains and your monitor and you’ve got great sound with minimum hassle.

• Page 84: Warranty Information

  This warranty only applies to products sold and used in the USA and Canada. Fractal Audio Systems shall not be liable for damages or loss resulting from the negligent or intentional acts of the shipper or its contracted affiliates.

• Page 85: Specifications

  Specifications Front Panel Input Connector: 1/4” phone jack, unbalanced. Impedance: 1 Mohm Max. Input Level: +12 dBu (conditioned for guitar use) Rear Inputs Connector: 1/4” phone jack, unbalanced. Impedance: 1 Mohm Max. Input Level: +18 dBu A/D Conversion Bit Depth: 24 bits Sample Rate: 48 kHz…

Quick Links

• Page 1
  Owner’s Manual MARK II…

• Page 3: Legal Notices

  Fractal Audio Systems Axe-Fx II Owner’s Manual. Contents Copyright © 2011 -2012. All Rights Reserved. No part of this publication may be reproduced in any form without the permission of Fractal Audio Systems. Fractal Audio Systems, Axe-Fx, Axe-Fx II, Axe-Fx II Mark II, G2 Modeling Technology (“G2”), Humbuster, Multipoint Iterative Matching and Impedance Correction (“MIMIC”), Virtual Vacuum Tube (“VVT”) are trademarks of Fractal…

• Page 4: Certificate Of Conformity

  Zappa, Adrian Belew, Steve Vai, John Petrucci, the Edge, Peter Frampton, Neal Schon, King’s X, Scott Appleton (Def Leppard/Rush/etc.) and more. This work is based extensively on the original Axe-Fx manual by Fractal Audio founder and Axe-Fx creator Cliff Chase.

• Page 5
  “Axe-evangelists” to the world’s most celebrated pro players; that we’d soon be writing the foreword to a manual for the sequel: the Axe-Fx II. Nevertheless, the Axe-Fx II is here. Advances in technology and knowledge, along with the shared insights of our community, have allowed us to design and produce a next-generation product that represents a giant step forward.

• Page 6: Table Of Contents

  Axe-Fx II Four Cable Method (“4CM”) ………………..21 3.4.7 Direct to FOH plus Real Amps on Stage ………………..22 3.4.8 Axe-Fx II as Effects Processor Only (with Guitar Amps) …………… 23 3.4.9 Axe-Fx II as a Computer Audio Interface ………………… 24 3.4.10 Axe-Fx II and MFC-101 …………………….

• Page 7
  TABLE OF CONTENTS 4 Basic Operation and Editing …………27 4.1 Presets ………………..27 4.2 The Grid ………………..28 4.2.1 Inserting and Removing Blocks ………………….28 4.2.2 Shunts …………………………29 4.2.3 Connector Cables ……………………..30 4.2.4 Moving Blocks on the Grid ……………………32 4.2.5 Example Presets on the Grid ……………………
• Page 8
  TABLE OF CONTENTS 5.6.8 Delay Common Parameters ……………………. 61 5.7 Drive [DRV] ……………….. 63 5.8 Effects Loop [FXL] ………………. 65 5.9 Enhancer [ENH] ………………66 5.10 Feedback Send [SND] & Return [RTN] ……….66 5.11 Filter [FLT] ………………. 67 5.12 Flanger [FLG] ………………
• Page 9
  TABLE OF CONTENTS 5.24.5 Octave Divider ……………………….. 95 5.24.6 Crystals …………………………96 5.24.7 Advanced Whammy ……………………..97 5.24.8 Arpeggiator ……………………….98 5.24.9 Custom Shifter ……………………….. 99 5.25 Quad Chorus [QCH] …………….100 5.26 Resonator [RES] …………….. 102 5.27 Reverb [REV] ………………103 5.28 Ring Modulator [RNG] ……………
• Page 10
  TABLE OF CONTENTS 7.2.3 Damping ……………………….. 126 7.2.4 Auto Engage ……………………….126 7.2.5 Program Change Reset ……………………126 7.3 Control Sources ………………127 7.3.1 LFO1 & 2 ……………………….127 7.3.2 ADSR 1 & 2 ……………………….128 7.3.3 Sequencer ……………………….128 7.3.4 Envelope Follower ……………………..
• Page 11
  TABLE OF CONTENTS 12 Tempo ………………145 12.1 Setting the Tempo …………….145 12.2 Synchronizing Sound Parameters …………145 12.3 Tempo to Use ………………146 12.4 Auto Delay ………………146 12.5 Metronome ………………146 13 Backing Up and Restoring …………147 13.1 MIDI/SysEx Backup and Restore …………
• Page 12
  16.16.7 Table of CC# Values for Scene Select ………………… 174 16.17 Glossary & Resources …………..175 16.18 Axe-Fx II Bank & Preset Numbers Table ………. 178 16.19 Factory Default Settings …………..179 17 Specifications …………….181 17.1 Midi Implementation Chart …………… 182 Warranty ………………

• Page 13: What’s New

  The Axe-Fx II takes «real amp tone and feel» to the next level, offering the latest word on restoring digital to its rightful place as the superior solution for guitar processing.

• Page 14
  Tone Matching to “Clone” any Tone The Axe-Fx II features a new Tone Matching block with the capability to match the sound of a real or recorded amp. It does this by analyzing the difference between the sound of your preset (the “local” signal) and a “reference”…
• Page 15
  WHAT’S NEW Improved Digital I/O In addition to its USB interface, the Axe-Fx II sports SPDIF and AES input and output connectors. 7-pin MIDI In and a selectable MIDI Out/Thru jack are provided for interconnection with other MIDI-controllable equipment. Built for MFC-101 The Axe-Fx II features an all-new dedicated control port for connecting an MFC-101 MIDI Foot Controller via that unit’s EXPANSION port.

• Page 16: Introduction

  A Word on Modeling You may have noticed that the Axe-Fx II is not typically described as a “modeler.” This is not to diminish its debt to heritage; on the contrary, we’ve done thousands of hours of deep analysis of the greatest amps, cabs, and effects of all time.

• Page 17
  Gone are the headaches and hassles of systems of so many boxes strung together with so many wires, prone as they are to failure and noise. And let’s say a small meteor hits the stage and obliterates your Axe-Fx II: you can literally restore to a new unit during the intermission and be up and running again for the next set.

• Page 18: The Inventory/Grid Concept

  (Note: Seven empty columns were removed from the illustration and are represented by •••) The figure above presents a stylized example of an Axe-Fx II preset. The INPUT is routed through a SHUNT to feed a “WAH” block. (The shunt has no effect on the sound and is shown only to introduce the concept of its use.) The WAH block is connected to an “AMP”…

• Page 19: Connectivity And More

  See the Effects Guide (p. 39) for more detail on blocks and their parameters. A powerful new feature of the Axe-Fx II allows you to maintain your own collection of Global Blocks (p.117) that can be inserted and then kept synchronized across multiple presets.

• Page 20: Overview

  Review the following to familiarize yourself with the hardware features of the unit. 2.1 The Front Panel Figure 2-1 The Axe-Fx II is housed in a powder-coated steel enclosure with an anodized aluminum faceplate. Dual front handles allow easy rack mounting and removal. The POWER Switch turns the unit on or off.

• Page 21
   STORE – Enters the STORE menu where you can save, rename, or swap presets. See p. 37 for details.  BYPASS – Bypasses the Axe-Fx II, routing the output of the A/D directly to the input of the D/A converters, defeating all processing functions and lighting the BYPASS LED.

• Page 22: The Rear Panel

  I/O:AUDIO menu (p. 134). These jacks transmit and receive at a fixed rate of 48k. USB – This provides the means to connect the Axe-Fx II to a PC or Mac, enabling a host of two-way audio and MIDI capabilities. See section 2.3 on p.12. Like the digital i/o, USB Audio operates only at 48k.

• Page 23
  Be careful not to insert other types of connectors such as USB or guitar cables into the MFC expansion port of the Axe-Fx II, as doing so can damage your unit. This leaves tell-tale signs on the motherboard and is NOT covered under warranty.

• Page 24: Computer Integration

  2.3.2 Software Installation Although the Axe-Fx II drivers are fully class-compliant, software installation is still required on all platforms. Without drivers installed, USB capabilities of the Axe-Fx II will not work correctly. Both Mac and Windows versions can be downloaded from our web site at http://www.fractalaudio.com/support.

• Page 25: Capabilities

  Two Simultaneous Channels of 48k/24-bit Audio from the Computer to the Axe-Fx II Two outputs, typically called OUT 0 and OUT 1, allow audio to be sent from the computer to the Axe-Fx II where it can be mixed with processed signal at the main outputs or routed through onboard effects.

• Page 26
  Four Simultaneous Channels of 48k/24-bit Audio from the Axe-Fx II to the Computer Four outputs, typically called IN 0, IN 1, IN 2, and IN 3, allow audio to be routed from the Axe-Fx II to the computer, recorded, processed, or monitored.

• Page 27: Connections

  As such, some noise may be generated while adjusting the knobs. If the OUT1 or OUT2 CLIP LEDS light while you use the Axe-Fx II, the problem is not trim settings but levels in the digital domain. Chances are the effects in your preset—many of which can increase gain significantly—are simply too hot.

• Page 28: The Pedal Jack

  3.3 System Parameters As you can see, the Axe-Fx II is equipped with a flexible array of input/output connector jacks. The diagrams above cover the layout of the hardware, but seeing a few complete setups can also be helpful as you decide how to connect other equipment.

• Page 29: Connection Diagrams

  CONNECTIONS 3.4 Connection Diagrams Familiarize yourself with the capabilities of inputs, outputs, and control connections through this overview. The diagrams that follow in sections 3.4.1 through 3.4.10 illustrate several real-world applications. Figure 3-1 – I/O Overview Doc v11.03…

• Page 30: Axe-Fx Ii Into Self-Powered Full-Range Speakers

  Optional headphones provide an alternate way to listen when cabs are not present or are switched off. Balanced (XLR) or unbalanced (1/4”) jacks and cables can be used to connect the Axe-Fx II, with the former providing the advantage that less noise will be picked up over longer cable runs.

• Page 31: Axe-Fx Ii With Power Amp And Guitar Speakers

  In any case, the settings required for this setup are not ideally suited for monitoring through the Axe-Fx II headphone jack, as what you hear through headphones will not sound like what you will hear through the speakers.

• Page 32: Axe-Fx Ii Effects Loop

  “SPDIF/AES” for OUT SOURCE MAIN INPUT SOURCE digital inputs to be connected to the grid. A valid signal must be present at the selected digital input or the Axe-Fx II will display “NO INPUT CLOCK!” Doc v11.03…

• Page 33: Axe-Fx Ii Four Cable Method («4Cm»)

  To use the 4CM, you will need to create special presets where AMP and CAB blocks are replaced by the FX LOOP block (p. 65). Signal hits the Axe-Fx II first, into any effects that you want in front of the amp—compressor, drive, wah, and the like.

• Page 34: Direct To Foh Plus Real Amps On Stage

  Global Settings: Default I/O Settings: Set OUT1 MODE and OUT 2 MODE as required for stereo or mono Notes: This setup is similar to others in which the Axe-Fx II is used direct into full-range speakers. Here, however, a special preset feeds both the direct and power amp/cab rig by placing an FX LOOP block between the AMP and CAB, so signal is passed to Output 2 before it is processed by the CAB block and passed to Output 1.

• Page 35: Axe-Fx Ii As Effects Processor Only (With Guitar Amps)

  It is easy enough to extend each of the above configurations for use in stereo. With the Axe-Fx II in a loop, connect OUT1 R to the RETURN of a second amp, bypassing that unit’s preamp altogether, or run fully within the loops of two separate amps using IN1 L/R and OUT1 L/R.

• Page 36: Axe-Fx Ii As A Computer Audio Interface

   Send audio from the computer to the Axe-Fx II for processing (and send it back to record the result).  Use the Axe-Fx II rear inputs to record other line-level audio sources, with or without Axe-Fx II processing.

• Page 37: Axe-Fx Ii And Mfc-101

  WARNINGS: 1. Do NOT connect the MFC-101 power adapter to the MFC-101 or to the Phantom Power jack of the Axe-Fx II while using the Ethernet/EtherCON cable. The Axe-Fx II provides required power from its internal power supply and transmits it over the Ethernet cable.

• Page 38: Axe-Fx Ii: One Possible «Big Rig

  Axe-Fx II: One Possible “Big Rig” Here the Axe-Fx II is the centerpiece of a “big rig,” combining the capabilities of several other diagrams shown above. The main outs feed a pair of powered FRFR cabs, so you can design and monitor sounds and play live with the same sound.

• Page 39: Basic Operation And Editing

  Global Blocks (p. 117). As of firmware 9.0, each Axe-Fx II preset also contains eight SCENES. The current Scene is shown on the recall screen and can be changed with the “A” QUICK CONTROL knob. For more on setting up SCENES, see p. 170.

• Page 40: The Grid

  4.2.1 Inserting and Removing Blocks As explained in “The Concept” on page 6, the Axe-Fx II grid must be populated with blocks—components pulled from a large inventory of amps, cabs, stompbox, studio effects, mixers, and more. The insertion, modification, or removal of blocks happens at the grid cursor, a filled rectangle controlled with the NAV buttons.

• Page 41: Shunts

  98%. Each block has a “cost,” and when the sum of all blocks reaches the limit, a warning message prevents you from adding additional blocks. The Axe-Fx II is extremely powerful, and most presets do not come close to the limit.

• Page 42: Connector Cables

  The second example above would produce NO SOUND as nothing is “wired up” to pass signal to the output! If a preset is unexpectedly silent, inspect it carefully for one or more missing cables. The Rules of Axe-Fx II Cables  No cables = No sound. Even one missing link will break the entire chain.

• Page 43
  BASIC OPERATION AND EDITING  If you try to connect to an EMPTY location, a SHUNT will be created there.  You can ONLY connect to blocks in the next column to the right. represents the origin of a connector cable. shows valid possible destinations.

• Page 44: Moving Blocks On The Grid

  A Word on Shunts and Cables In the real world, cables and connectors can have an impact on the tone of a guitar rig. In the Axe-Fx II, nothing could be further from the truth. Shunts and connectors, whether long, short, split, merged, or crisscrossed in a huge mess, have absolutely no sonic properties whatsoever.

• Page 45: Example Presets On The Grid

  Wahwah, Whammy, Tremolo, Overdrive, Phaser, and Flanger are all connected to an AMP/CAB combination, followed by Delay and Reverb. As you can see, the Axe-Fx II supports a great number of simultaneous effects; this preset uses just a portion of the unit’s total CPU power, leaving considerable room for more effects on other rows.

• Page 46
  The presets in this section represent only four examples of the nearly limitless possibilities that can be created using the GRID, BLOCKS, and CONNECTORS of the Axe-Fx II. In addition to reviewing these diagrams, you can gain valuable insight and ideas by exploring the factory presets or by discussing techniques with other members of the Fractal Audio community.

• Page 47: Editing Sounds

  Parameter settings determine precisely how an effect will sound. These are arranged on PAGES in the display of the Axe-Fx II. The system of parameters and pages for any block is referred to as its EDIT menu. To Open the EDIT Menu for Any Effect Block……

• Page 48: Quick Control

  4.4 X/Y Switching One of the new features of the Axe-Fx II is X/Y switching, available on 10 different effect block types: Amp, Cab, Chorus, Delay, Drive, Flanger, Pitch Shifter, Phaser, Reverb, and Wahwah. Each instance of each of these blocks is equipped with two fully independent sets of parameters—“X”…

• Page 49: X/Y Quick Jump

  Can you imagine a stompbox that can’t be stomped? Neither can we. Any effect on the Axe-Fx II can be bypassed (or engaged) in three different ways: 1. Press the front panel FX BYP button while the block is either selected in the grid or open to edit.

• Page 50: Saving Changes

  Swapping the Locations of Two Presets The Axe-Fx II has a new feature that allows you to SWAP the locations of two saved presets. This is useful, for instance, if you want to re-order the factory presets without overwriting any of them, or if you need to move a “keeper”…

• Page 51: Effects Guide

  100+ different “types” based on stock, custom and hybrid models. You get great amp sounds from the Axe-Fx II using only the basic drive and tone controls on PG1 and PG2 of the edit menu. In general most knobs behave exactly like those on actual amp when possible.

• Page 52: Basic Amp Parameters (Type, Pre, Pwr, Eq

  10, matching knob settings between the Axe-Fx and the original amp will recreate the same tones. Some of the original amps simulated on the Axe-Fx II do not have all of the tone controls offered on our models. Some, for example, have no mid control. To faithfully simulate the configuration of the original, set any superfluous controls to noon (or “0.00”…

• Page 53
  BRIGHT SWITCH – Many amplifiers contain a “treble peaker,” included as a pull or toggle switch, or even hard-wired. Every amp on the Axe-Fx II includes this control. The effect may be subtle or quite TYPE pronounced depending on the amp This is also affected by the setting (p.54).

• Page 54: Amp Speaker Parameters

  EFFECTS GUIDE harsh, reduce slightly. If you want a little more “girth”, increase a bit. While these might CHARACTER DYN DEPTH cause departures from perfect accuracy, they allow highly musical adjustments that would be very difficult to accomplish in an actual tube amp. Furthermore they can be used to reduce “flaws” in the actual amp’s design —…

• Page 55: Amp Dynamics Parameters

  EFFECTS GUIDE HI FREQ, HI RES – A loudspeaker voice-coil presents an inductive load to the power amp at high frequencies. This inductive load, in conjunction with the output transformer capacitance, creates a high- frequency resonance at the specified frequency. XFRMR LF, XFRMR HF –…

• Page 56: Advanced Amp Parameters

  EFFECTS GUIDE of power amp distortion is achieved, then adjust matching until the character of the distortion is as desired. The various LF and HF resonance parameters interact strongly with this parameter so be sure to experiment with those as well when crafting a tone. LEVEL –…

• Page 57
  EFFECTS GUIDE  Selecting the “ACTIVE” type gives each tone control +/- 12 dB boost/cut operation for up to twice the range of a typical amplifier. Since the active tone controls are more sensitive, small adjustments have bigger effects, and less extreme settings still achieve pretty extreme sounds. For example, full PASSIVE treble for a high-gain British amp would be equivalent to only +5.0 dB ACTIVE, leaving 7 dB of additional headroom! Active tone controls do not interact like those of a typical amplifier, so when you adjust the treble, the mid and bass are not affected.
• Page 58
  EFFECTS GUIDE POWER SUPPLY TYPE, AC LINE FREQ – Selects between AC and DC virtual power supply types. AC rectification and resulting supply ripple are modeled, and the line frequency is also selectable. Note that high values of Sag with low B+ Time Constant values can cause “ghost notes” when the supply type is AC (as in a real amp).

• Page 59: Cabinet [Cab]

  The Speaker Cabinet Simulator (“Cab” for short) recreates the tonal characteristics of any number of speaker cabinet configurations. The Axe-Fx II contains over 100 built-in “factory” cabinet simulations, plus 100 memory locations you can use to load custom Impulse Response (“IR”) files. The Cab block also offers the ability to apply room and microphone simulations (including sub-millisecond delays), plus basic tone.

• Page 60
  Manufacturer and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Axe-Fx II MIC TYPES.

• Page 61: User Cabs

  5.2.1 User Cabs In addition to the 100+ onboard cab simulators, the Axe-Fx II allows you to store up to 100 “User” IR files onboard. Using Fractal-Bot or a 3 party MIDI utility, you transmit the IR file in SysEx format to your Axe-Fx, and the sound of that cab becomes available on your unit.

• Page 62: Chorus [Cho]

  Used subtly, the effect can be ambient and liquid, while more extreme settings can produce a vibrato or “Leslie” effect. The Axe-Fx II offers a high-quality, multi-voice stereo chorus capable of producing anything from exceptionally smooth ensemble effects to a wildly detuned warble.

• Page 63
  EFFECTS GUIDE TEMPO – Sets the chorus rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the chorus modulation rate will automatically be set to 2 Hz (BPM/60 = Hz).

• Page 64: Compressor [Cmp]

  In guitar pedalboards, a compressor is often placed at the start of an effects chain (though using the effect in front of high-gain distortion can increase noise or squealing). In the recording studio, a Compressor is typically placed towards the end of a signal chain to smooth irregular levels. The Axe-Fx II provides both pedal and studio-type compressors (detailed below).

• Page 65
  EFFECTS GUIDE LOOK AHEAD – Despite fast attack times, a compressor can fail to “catch” very fast transients. Look Ahead introduces a short audio delay so the compressor’s gain control stage has sufficient time to respond to the detector, which is side-chained with no delay. Look ahead can reduce “popping,” especially when heavy compression is used on very percussive sources.

• Page 66: Crossover [Xvr]

  5.5 Crossover [XVR] This two-way stereo crossover contains 4th-order Linkwitz-Reilly filters. Each Axe-Fx II preset can use two crossover blocks. You can create a three- way crossover by feeding one output of the first to the input of the second.

• Page 67: Delay [Dly]

  5.6 Delay [DLY] The Axe-Fx II Delay block lets you create classic, modern, and innovative echo effects. A “delay” records an input and then plays it back later in time, creating the effect of an echo…echo…echo. Modified tape recorders were once used for this purpose, but these had sound quality, noise, and reliability concerns.

• Page 68: Mono Delay

  EFFECTS GUIDE MSTR FDBK – Master Feedback scales any and all feedback parameters on PG2 of the Delay. Note that the range of this control is 0–200%, making it possible (easy, in fact) to “overload” the feedback loop. – This is a copy of the control on the MIX page, placed here for easy adjustment of the wet/dry balance without page-flipping.

• Page 69: Stereo Delay

  EFFECTS GUIDE 5.6.2 Stereo Delay This stereo-in/stereo-out delay has the convenience of common controls for most L-R parameters. Figure 5-9 – The Stereo Delay Block TIME – Sets the left delay time in milliseconds. When is shown in parenthesis, it is being set TIME automatically by the parameter (see below).

• Page 70: Dual Delay

  EFFECTS GUIDE 5.6.3 Dual Delay This is a stereo-in/stereo-out delay with fully independent controls for most L-R parameters. Figure 5-10 – The Dual Delay Block TIME L TIME R – Dual parameters to set the time of the left and right delay lines. When is shown in TIME parenthesis, it is being set automatically by the…

• Page 71: Ping-Pong Delay

  EFFECTS GUIDE 5.6.4 Ping-Pong Delay The echoes of this easy-to-use Ping-Pong Delay alternate between left and right channels in stereo. The Ping-Pong Delay uses the same algorithm as the Stereo Delay (p. 66), except the ECHO PAN parameter is replaced by SPREAD. SPREAD –…

• Page 72: Tape Delay

  EFFECTS GUIDE – When this is turned ON, the reverse playback process is active and can be heard. Turning RUN to OFF will mute playback (though any samples in the buffer will still silently run out). This switch can be remotely operated with a modifier (attached, for example, to a footswitch) to stop and start playback.

• Page 73: Delay Common Parameters

  HEAD 2 RATIO – The Axe-Fx II tape delay has two heads, or “taps” on the loop. This control sets the relative position of the second playback head from zero to a maximum of 100%—the HEAD 1 TIME value. Settings close to 100% (e.g.

• Page 74
  A Word on “Spillover” The Axe-Fx II Delay is capable of “spillover,” which means that effect tails ring out when the effect is bypassed or when you change presets. For more on this subject, please see Setting Up Spillover on p. 168.

• Page 75: Drive [Drv]

  Manufacturer names and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Fractal Drive TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them.

• Page 76
  EFFECTS GUIDE Full OD Based on the Fulltone™ Fulldrive OD Pedal. Blues OD Based on the Marshall™ Bluesbreaker®. Shred Dist Based on the Marshall™ Shredmaster®. M-Zone Dist Simulates the Boss™ Metalzone™, popular for extreme gain settings. Bender Fuzz Based on the classic Tonebender circuit. BB Pre Based on the Xotic®…

• Page 77: Effects Loop [Fxl]

  5.8 Effects Loop [FXL] The Axe-Fx II has a full-stereo effects loop that can be used to insert outboard hardware anywhere in the signal chain of a preset. Any signal at the input of the [FXL] block is passed to the physical OUTPUT 2 (“FX SEND”) on the Axe-Fx II.

• Page 78: Enhancer [Enh]

  The Enhancer has no mix parameters or bypass mode modifier switch. Each Axe-Fx II preset can use one Enhancer block. 5.10 Feedback Send [SND] & Return [RTN] The Feedback Send and Feedback Return blocks allow you to route sound from any point in the preset routing to any other point, bending the rule that signal may only flow from left to right.

• Page 79: Filter [Flt]

  The latter controls the amount of signal that SEND LEVEL OUTPUT LEVEL passes through the block. Each Axe-Fx II preset can use one FB Send and one FB Return block. The Feedback Return block has LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix MIX, Parameters on p.

• Page 80: Flanger [Flg]

  “feedback” control (sometimes called “regeneration” or “intensity”) which returns some of the output signal to the input and intensifies the characteristic sweep. A regenerative flanger is a real attention-getter. Each Axe-Fx II preset can use two fully independent Flanger blocks. Flanger X/Y Channel Switching Each instance of the Flanger block stores two fully independent sets of parameters called X and Y.

• Page 81
  EFFECTS GUIDE – Sets the ratio of wet and dry (duplicated from the MIX page). TEMPO – Locks the flanger rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the rate will automatically be set to 2 Hz (BPM/60 = Hz). To ignore the global tempo set the tempo control to NONE.

• Page 82: Formant [Frm]

  For example, the vowel sound «eee» can be reproduced with a bank of narrow bandpass filters with various frequencies and amplitudes. The Axe-Fx II Formant Filter can be set statically or blend dynamically between vowels. The…

• Page 83: Gate/Expander [Gte]

  When set up to completely silence incoming signals below a certain threshold, the expander is called a gate. Each Axe-Fx II preset can use two fully independent Gate/Expander blocks. Figure 5-15 – The Gate/Expander Block THRSH –…

• Page 84: Graphic Equalizer [Geq]

  15 to 60 seconds, depending on your choices for mono/stereo/undo. Looper functions can be operated from the Axe-Fx front panel or remotely via MIDI. Fractal Audio Systems’ MIDI Foot Controller product, the MFC-101, offers a dedicated LOOPER CONTROL MODE for the Axe-Fx II.

• Page 85
  – Slows the Looper’s speed to half. Playback and normal or overdub recording are supported at half speed. For double speed playback, record in half speed and then switch back to normal. Note: Halving the speed slightly reduces high-end frequency response. Each Axe-Fx II preset can use one Looper block. Looper Advanced Controls MODE –…

• Page 86: Megatap Delay [Mgt]

  The Megatap Delay is a 2.5 second, 40-tap delay line with parametric control of time, amplitude, and panning. This effect can be used to create interesting sonic patterns or to increase “density” before reverberant effects. Each Axe-Fx II preset can use one Megatap block. Figure 5-16 – The Megatap Delay Block…

• Page 87: Mixer [Mix]

  The mixer lets you fine-tune level blends or use modifiers (p. 122) to crossfade between different effects or chains. Each pair of gain and balance controls corresponds to a row in the grid. For a more thorough description of how Axe-Fx II mixers work, see section 16.11, Mixology, on p. 164. Page 1 Parameters GAIN 1 –…

• Page 88: Multiband Compressor [Mbc]

  Each Axe-Fx II preset can use two fully independent Mixer blocks. 5.19 Multiband Compressor [MBC] The Axe-Fx II contains a three-band compressor that is great for mastering or compressing a mix. It also works as a tone-shaping tool, providing independent level and dynamics control over low, mid, and high frequencies.

• Page 89: Multi Delay [Mtd]

  5.20 Multi Delay [MTD] The Multi Delay is a rhythmic multi-tap delay block. Each Axe-Fx II preset can use two fully independent Multi Delay blocks, each of which may be set to any one of ten sub-algorithms: Quad Tap, Plex Delay, Plex Detune, Plex Shift, Band Delay, Quad Series, Ten-Tap, Rhythm Tap, Diffusor, and Multi Tape Delay.

• Page 90: Quad Tap Delay

  EFFECTS GUIDE 5.20.1 Quad Tap Delay The Quad Tap Delay offers four “taps,” each of which extracts a signal from any point in the delay line. It is useful for cool creative and rhythmic effects. Each tap has its own level and pan controls, plus a bandpass filter with adjustable frequency and Q.

• Page 91: Plex Delay

  EFFECTS GUIDE DUCKER ATTEN – (Ducker Attenuation) Sets the amount by which the effect volume will duck (decrease). A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. Set to 0.0 to defeat the ducker.

• Page 92
  EFFECTS GUIDE Parameters DECAY TIME – Sets the amount of time required for the echoes to fade by adjusting the coefficients of the feedback matrix. Use caution, as high decay times can result in instability. DIFFUSION – Sets the amount of cross-coupling between delay lines. Higher values increase the density of the echoes and result in a more reverb-like sound.

• Page 93: Plex Detune

  EFFECTS GUIDE 5.20.3 Plex Detune The Plex Detune is based on the Plex Delay (5.20.2 above) but adds four high-quality pitch shifters with a range of +/- 50 cents to the output of the delay taps. Like the LFOs of the Plex Delay, these shifters help create layered effect tails rich with pitch variations.

• Page 94: Quad Series Delay

  EFFECTS GUIDE Figure 5-21 – The Band Delay Multi Delay Type 5.20.6 Quad Series Delay The delay lines of the Quad Series Delay are connected end-to-end so that their times are compounded as the signal travels from one to the next. Each line has its own output tap, however, so the output of any line can also be heard as it enters the next delay in the series.

• Page 95: Rhythm Tap Delay

  EFFECTS GUIDE time. The levels of individual delay taps can also be adjusted from -80 to +20 dB. Pan is set as a that can SHAPE change automatically as the taps progress. MONO/STEREO – Sets the mode of the Ten-Tap Delay. In mono mode, twice as much delay per tap is possible.

• Page 96: Diffusor

  EFFECTS GUIDE The parameters for the Rhythm Tap Delay include those of the Ten-Tap Delay (5.20.7 above) plus the following: FEEDBACK – Sets the feedback level from the final repeat to the input of the delay line. You can use this in conjunction with the decay to control the overall decay behavior.

• Page 97: Quad Tape Delay

  “chopper” effects (use a square wave LFO!) Panning covers anything from slow swings to psychotic shudders. Each Axe-Fx II preset can use two fully independent Tremolo/Panner blocks. Figure 5-24 – The Pan/Tremolo Block Parameters EFF TYPE –…

• Page 98: Parametric Eq [Peq]

  5.22 Parametric EQ [PEQ] The 5-band Parametric Equalizer is one of the most precise and flexible tone-shaping tools in the Axe-Fx II. It lets you select the exact frequencies you want to focus on, adjust how much you want to boost or cut, and specify how the change should affect neighboring frequencies.

• Page 99: Phaser [Pha]

  The phaser in the Axe-Fx II is extremely powerful. It allows two to 12 stages to be cascaded with positive or negative feedback and a flexible, stereo LFO. It also offers a special mode to recreate the classic ‘vibe effects with astonishing accuracy.

• Page 100: Basic Parameters

  EFFECTS GUIDE Phaser X/Y Channel Switching Each instance of the Phaser block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments).

• Page 101: Pitch Shifter [Pit]

  VIBE MODE – Technically, this parameter sets the all-pass frequency spacing. But it would probably suffice to say that if Jimi, Robin, and David had a favorite Axe-Fx II phaser setting, this would be it. The TYPE parameter on the BASIC page can be used to get dial in classic ‘vibe sounds instantly, or you can manually turn this switch ON to experiment with your own settings.

• Page 102: Common Parameters

  EFFECTS GUIDE Common Parameters The first menu page has several common parameters for the pitch block. TYPE – Sets the sub-algorithm to use. INGAIN – Sets the input level to the block for “Aux Send” type control even when the block is in series. LOCUT FREQ, HICUT FREQ –…

• Page 103: Detune

  EFFECTS GUIDE Pitch Shifter Mix Parameters All Pitch Shifter types share a common MIX page with LEVEL BALANCE BYPASS MODE, GLOBAL MIX parameters. See Common Mix Parameters on p. 115 for more information on these controls. 5.24.1 Detune The Detune sub-algorithm creates two voices that are detuned between -50 and +50 cents (one quarter step) from the input.

• Page 104: Fixed Harmony

  EFFECTS GUIDE 5.24.2 Fixed Harmony The Fixed Harmony mode creates two voices at fixed intervals from the note played, with the possibility of using feedback and/or delay to create cascades of upward/downward shifting. Figure 5-28 – The Fixed Harmony Pitch Shifter Type INPUT MODE –…

• Page 105
  EFFECTS GUIDE the actual note played and the two shifted voices, three-note chords can be formed. Crank out some Maiden, Boston, or Thin Lizzy all by yourself! Figure 5-29 – The Intelligent Harmony Pitch Shifter Type VOICE1 DETUNE, VOICE 2 DETUNE –…
• Page 106
  EFFECTS GUIDE VOICE1 DLYTEMPO, VOICE 2 DLYTEMPO – Locks the delay time to the global tempo. For example, if the global tempo is 120 BPM, and is set to a quarter note “1/4,” then the delay time will be 500 ms. To TEMPO ignore the global tempo, set the tempo control to NONE.

• Page 107: Classic Whammy

  EFFECTS GUIDE 5.24.4 Classic Whammy The whammy, first introduced in 1991, is a relative newcomer to the field of guitar effects. The Classic Whammy brings all of the expected sounds to the Axe-Fx II. Its parameter is designed to be operated CONTROL remotely using a modifier (p.

• Page 108: Crystals

  EFFECTS GUIDE 5.24.6 Crystals The Crystals Pitch Shifter is similar to the Fixed Harmony mode (p. 92) but is designed for special effects. It features much longer possible “splice” times inside the shifter, reverse shifting, and a flexible feedback architecture. Figure 5-32 –…

• Page 109: Advanced Whammy

  EFFECTS GUIDE For sake of explanation, the Crystal algorithm “splicing” parameters detailed below are not listed in the order in which they appear on the display of the Axe-Fx II. VOICE1 SPLICE, VOICE2 SPLICE – Pitch shifting breaks a signal into pieces called “granules.” These are manipulated individually and then “spliced”…

• Page 110: Arpeggiator

  EFFECTS GUIDE 5.24.8 Arpeggiator The Arpeggiator uses a 32-step sequencer to control the shift amount of a harmonizer so that complex arpeggio patterns can be created from a single note. Arpeggios “intelligently” transpose inside the designated key/scale as you play different notes. So, in the key of C (Ionian) Major, the note “C natural” will arpeggiate as C-E-G (C major), but the note D natural will arpeggiate as D-F-A (d minor).

• Page 111: Custom Shifter

  EFFECTS GUIDE STAGE 1,2,3…16 SHIFT – Tricky but ideally implemented for maximum flexibility, this parameter sets the number of scale degrees that each note of the arpeggiator will be shifted above or below the note played. Let’s look at the example of a four-stage arpeggio with values of 0, 2, 4, and 7. We’ll place it in the key of C for comfort, with a scale type of IONIAN (MAJOR).

• Page 112: Quad Chorus [Qch]

  80s session player clean sound. It takes time to set up, but your efforts will be rewarded with incredibly lush and liquid chorus sounds. It is a four-voice chorus with a powerfully complex modulation generator. Each Axe-Fx II preset can use two fully independent Quad Chorus blocks. Figure 5-35 – The Quad Chorus Block The parameters of the Quad Chorus are divided across pages for Master, Chorus 1–4, Advanced, and Mix.

• Page 113
  EFFECTS GUIDE Chorus Unit Parameters Each chorus unit has an identical set of parameters. TIME – Sets the minimum time delay of the selected chorus voice. All modulation is positive/unipolar. LEVEL – Sets the output level of the selected chorus voice. –…

• Page 114: Resonator [Res]

  Figure 5-37 –- The Resonator Block, Shown in its MONO INPUT MODE. Each Axe-Fx II preset can use two fully independent Resonator blocks. Parameters MODE – The Resonator can operate in one of two modes.

• Page 115: Reverb [Rev]

  Early simulators incorporated metal springs and plates, but as with delay processing, reverberation effects were truly revolutionized by digital technology. The Axe-Fx II is one of the finest you are likely to have heard: realistic, lush, and dense, with the ability to emulate real spaces, vintage springs, classic digital effects, and more.

• Page 116
  EFFECTS GUIDE Plate Simulates the sound of a vintage reverb plate characterized by smooth yet bright sound that is especially popular for vocals. The Axe-Fx II Plate simulation captures the «shiny» sound without all the complicated setup. Cathedral Surround your tone with heavenly reverb in this incredible simulation of a grand space.
• Page 117
  A Word on “Spillover” The Axe-Fx II Reverb is capable of “spillover,” which means that effect tails ring out when the effect is bypassed or when you change presets. For more on this subject, please see Setting Up Spillover on p. 168.

• Page 118: Ring Modulator [Rng]

  The Axe-Fx II Ring Modulator goes beyond the classic effect in that the modulation frequency can be dynamically controlled by the pitch of the input. Each Axe-Fx II preset can use two fully independent Ring Modulator blocks. Parameters FREQ –…

• Page 119: Rotary Speaker [Rot]

  Stevie Ray Vaughan’s «Cold Shot» offering an example of the sound of this variant. The Axe-Fx II Rotary Speaker simulator reproduces all these classic sounds and offers more control. Also, it doesn’t weigh 300 lbs. or require four guys to move it up a flight of stairs.

• Page 120: Synth [Syn]

  The global ADSRs or LFOs may be used to modulate a variety of functions. Each Axe-Fx II preset can use two fully independent Synth blocks. Figure 5-40 –- The Synth Block Parameters…

• Page 121: Tone Matching [Tma]

  “local” signal). This process is covered by a separate mini-manual available on our web site. Here is a summary: 1. CREATE a starting point preset on the Axe-Fx II, dialing it in as close as possible to the desired tone. Don’t forget to include the Tone Matching block, positioned where it can hear the reference signal and the output of your starting preset in mono without effects that might impede analysis.

• Page 122: Vocoder [Voc]

  EFFECTS GUIDE 5.32 Vocoder [VOC] The Axe-Fx II has a digital recreation of the classic analog vocoder. The vocoder, created by Homer Dudley, was originally designed as means of compressing human speech for transmission over narrow-band carrier channels. In the 1970s, Robert Moog and Wendy Carlos pioneered the use of the Vocoder for musical applications.

• Page 123: Volume/Pan [Vol]

  From Jimi Hendrix’s “Voodoo Chile” to, well, Stevie Ray Vaughan’s “Voodoo Chile,” the wah pedal holds a unique place in the annals of rock history. The Axe-Fx II Wahwah is the embodiment of this legacy but with modern reliability and control and a smooooth feel.

• Page 124
  EFFECTS GUIDE Each Axe-Fx II preset can use two fully independent Wahwah blocks. Wahwah X/Y Channel Switching Each instance of the WAH block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments).

• Page 125: Input Noise Gate

  INPUT IMP Instead, it changes the actual analog circuitry of the INSTR input jack to alter the way the Axe-Fx II interacts with your guitar. This recreates the way that some classic effects (e.g. Vibe) “load down” the pickups, causing a change in frequency response.

• Page 126: Output Mixer

  EFFECTS GUIDE   90 kΩ 32 kΩ   90 kΩ + Capacitor 32 kΩ + Capacitor   70 kΩ 22 kΩ   70 kΩ + Capacitor 22 kΩ + Capacitor 5.36 Output Mixer Every preset includes a fully programmable output mixer, located on the OUTPUT tab of the LAYOUT menu. This provides four pairs of controls for setting the output level, balance for each of the four grid rows, and a master level adjustment control.

• Page 127: Common Mix Parameters

  5.37 Common Mix Parameters Almost every block in the Axe-Fx II has a MIX page with parameters to determine how the output of that block contributes to the overall preset signal. On some blocks, these controls appear on other pages. Take a moment to familiarize yourself with these important controls and the differences between their settings.

• Page 128
  EFFECTS GUIDE MUTE – When the block is bypassed, wet and dry are totally silenced. THRU – When bypassed, the block is completely disengaged. None of its parameters have any effect on the sound; it behaves exactly as a shunt would in its place. With settings of “MUTE FX IN”…

• Page 129: Global Blocks

  With this feature, “links” keep designated blocks in your presets synchronized to their global “masters,” which are stored in a separate and independent memory area of the Axe-Fx II. Changes saved to a Global Block cause linked blocks to update when the presets that contain them are recalled. Links to Global Blocks remain in place until you manually remove them—even if you make and save other changes to the block or the preset!

• Page 130: Saving To A Global Block

  Modifier settings are NOT saved with Global Blocks, but blocks that have an X/Y switch (p. 36) will have all parameter settings for BOTH states saved in the Global Block. Global Blocks are included in an Axe-Fx II SYSTEM backup or dump (p. 147). Without further ado, let’s look at a “how-to.”…

• Page 131: Loading And Linking A Global Block

  GLOBAL BLOCKS To review: 1) Open the Global Blocks Screen. 2) Save the Global Block with a Link. 3) Save the Preset. If you miss that last step, your changes to the Global Block will be lost the moment you recall a new preset. To edit or update a Global Block: 1) open any linked instance;…

• Page 132: Unlinking Preset And Global Blocks

  GLOBAL BLOCKS variant or if you want to share a preset with another Axe-Fx II owner who may not have the same Global Block settings as you. To load a Global Block without linking:  First select a block of the appropriate type to insert into the current preset.

• Page 133: Backing Up/Sharing Presets Containing Global Blocks

  Backing Up/Sharing Presets Containing Global Blocks As you learned above, presets with links to Global Blocks refer to the “System” area of the Axe-Fx II to obtain their parameter settings. When such presets are backed up or dumped for sharing—whether individually or in a bank—…

• Page 134: Modifiers & Controllers

  Some, like the built-in LFOs and Envelope Follower, are “internal” to the Axe-Fx II, while others, like a connected expression pedal or a footswitch which sends a MIDI message, are referred to as “external” controllers.

• Page 135
  MODIFIERS & CONTROLLERS To Create a Modifier…  Select any controllable parameter ( ) and press the ENTER button to show the MODIFIER screen.  Select a to assign to the current parameter or SOURCE choose NONE to remove an existing modifier. …

• Page 136: Transformations

  MODIFIERS & CONTROLLERS To start, a WAH block is inserted on the grid. Pressing EDIT opens its EDIT menu. The modifier symbol beneath the CONTROL knob indicates that a modifier can be added here. Selecting this parameter and then pressing ENTER opens the MODIFIER screen. Selecting EXT1 for the SOURCE attaches this controller to our parameter, and the wah pedal starts working! “Follow the bouncing ball”…

• Page 137: Scale And Offset

  MODIFIERS & CONTROLLERS Here are some more examples of the kinds of curves you can create by changing . With START, MID, END, SLOPE a bit of practice, you will learn to achieve desired modifier effects quickly. Example 2: Setting MIN and MAX allow a modifier’s range to be “pegged”…

• Page 138: Damping

  MODIFIERS & CONTROLLERS 7.2.3 Damping If MODIFIERS add automation or remote-control in “real time,” damping allows these changes to happen in “stretched time.” Normally, parameters change at the same rate as modifier sources. Their values may be re- mapped as we saw above, but changes happen simultaneously. Every little tremble of your foot is reflected by a little tremble in the sound.

• Page 139: Control Sources

  The Axe-Fx II contains two global LFOs that can be individually programmed per-preset for use as modifier sources to control various other parameters. Press the front panel CONTROL button to find the LFO1 and LFO2 menu pages for the current preset.

• Page 140: Adsr 1 & 2

  7.3.2 ADSR 1 & 2 The Axe-Fx II contains two ADSR or “envelope” generators that can be used as control sources. ADSR stands for “attack, decay, sustain, release”—the four time segments that determine how long it takes for the entire envelope to run its course. The graph below illustrates this concept.

• Page 141: Envelope Follower

  7.3.6 Manual Knobs New to the Axe-Fx II are four front panel Quick Control knobs, detailed in section 4.3.1 on p. 36. When you select the MANUAL page of the CONTROL menu, these knobs work as MODIFIER control sources Doc v11.03…

• Page 142: External Controllers

  Select the desired item, press ENTER, and use the remote controller to send some data to the Axe-Fx II; the source will be set automatically. (This is also a good way to ensure that remote devices are in fact set up and transmitting correctly.) Remember that the channel of incoming CC# messages must match that of the Axe-Fx II under I/O:MIDI.

• Page 143
  MODIFIERS & CONTROLLERS 11. Bonus! Reclaim pedalboard real estate with a “Wildcard” footswitch. (Hi Dweezil!) Set it to a CC# and assign this to an External Controller. Then assign this EXT source to the modifiers of BYPASS MODE different effects across different presets, or anything else you can imagine… Doc v11.03…

• Page 144: Global Parameters

  STORED. The settings for all global parameters are included in a backup of the Axe-Fx II “SYSTEM” (See p. 147). Default assignments for all system parameters are listed beginning on p. 179. 8.1 Configuration Parameters The Configuration page (“CONFIG”) of the GLOBAL menu contains parameters that affect all presets at once.

• Page 145: Output Parameters

  (+/- 12 dB) fine-tuning of the tone across all presets. The outermost bands are shelf type filters. These come in handy when using the Axe-Fx II in different acoustical environments, or when you change amps/speakers with no opportunity to adjust your presets.

• Page 146: Input/Output Parameters

  The Input/Output (“I/O”) Parameters section, accessed by pressing the front panel I/O button, contains six pages of menus used to configure audio, MIDI, and control settings for the Axe-Fx II. I/O settings are global, and changes made in this area take effect immediately without needing to be STORED. The settings for all I/O parameters are included in a backup of the Axe-Fx II “SYSTEM”…

• Page 147
  OUTPUT 1 MODE This determines how OUTPUT 1 signals will be processed after the output mixer of the grid. This control makes it easy to use the same Axe-Fx II presets in a variety of (STEREO/ stereo and mono performance or recording environments. The decision to use SUM SUM L+R/ L+R or COPY L>R should be based on the source material.

• Page 148: Midi Parameters

  The MIDI page of the I/O menu contains parameters related to MIDI channel, thru, and program changes. PARAMETER Description MIDI CHANNEL Sets the channel on which the Axe-Fx II will receive MIDI messages. OMNI causes the 1–16, OMNI unit to respond to incoming messages on ANY channel. MIDI THRU…

• Page 149
  MIDI IN/OUT and MFC ports of the Axe-Fx II. When Set to OFF: 1. Inbound MIDI data at the MIDI IN or MFC ports is processed by the Axe-Fx II. 2. Inbound MIDI-over-USB data sent via the AXE-FX II MIDI OUT port of a connected computer is processed by the Axe-Fx II.

• Page 150: Control Parameters

  To assign a controller to a desired item, select it and turn the VALUE dial to select a MIDI CC number, or choose “PEDAL” for the onboard jack. Set to NONE to disable remote control. The Axe-Fx II also has a “learn” feature that allows it to detect control sources automatically.

• Page 151
  +/-20 dB with a single sweep! AMP1 BYP Every block instance in the inventory of the Axe-Fx II except FB SEND, FB RETURN, AMP 2 BYP MIXER, and SHUNT can be set up with a global, dedicated MIDI CC assignment to CAB 1 BYP control its bypass state.

• Page 152: Pedal Parameters

  The PEDAL page of the I/O menu contains parameters to set up and use an expression pedal or switch through the PEDAL jack on the rear panel of the Axe-Fx II. Simply connect the device, set its type, and perform a calibration if using a continuous-type expression pedal.

• Page 153: Utilities

  To the right of the I/O section, CPU Utilization (CPU%) is shown on its own meter. The total CPU usage must not exceed 98% or the entire system could destabilize. The Axe-Fx II works to prevent this condition from occurring.

• Page 154: Ir Capture

  Components & Connections To capture your own IRs with the Axe-Fx II, you’ll also need several common pieces of pro audio equipment. Remember that every component in the chain contributes to the sound: the amp, the cab, the mic, and the preamp.

• Page 155: Firmware

  The PRESET utilities (p. 141) allow dumping individual User Cab IRs to MIDI or USB for backup. Remember also that user cab IRs 1–50 are included with a dump of the Axe-Fx II System (see chapter 13) but user cabs 51–100 are NOT.

• Page 156: Tuner

  TUNER 11 Tuner The Axe-Fx II includes a state-of-the art onboard TUNER, an essential tool for the performing or recording musician. It is easy to operate and features high-resolution automatic pitch detection, a calibration control, offsets for modified tuning schemes, and the option to mute audio while tuning. The TUNER button shows the tuner. The PAGE buttons allow access to the tuner CONFIG and OFFSET pages.

• Page 157: Tempo

  The Global Tempo may be set to any whole number value in the range 30 BPM (grave) to 250 BPM (prestissimo). The current tempo is shown by a flashing LED inside the TEMPO button of the Axe-Fx II front panel, and it will also flash on the tempo footswitch of a connected MFC-101 MIDI Foot Controller.

• Page 158: Tempo To Use

  “PRESET,” the Global Tempo will change to the saved BPM value TEMPO TO USE whenever that preset is loaded. Factory presets in the Axe-Fx II are saved with a tempo of 120 BPM and a TEMPO setting of “PRESET.”…

• Page 159: Backing Up And Restoring

  OUT port of the Axe-Fx II. There is no onscreen confirmation when a PRESET dump initiates or completes.  DUMP BANK (A, B, or C) TO MIDI dumps a batch of 128 presets to the MIDI OUT port of the Axe-Fx II. Bank A contains presets 0-127, B contains 128-255, and C contains 256-383 (or 1-128, 129-256 and 257-384 when DISPLAY OFFSET (p.

• Page 160: Restoring From A Computer

   Create the connection between the Axe-Fx II and computer. This might be via legacy MIDI interface or USB.  Transmit the desired SysEx file from the application to the Axe-Fx II. It is not necessary to ready the Axe-Fx in any way.

• Page 161: Machine-To-Machine Transfers

  Preset, Bank or System data can be transferred directly from one Axe-Fx II to another. Connect the MIDI OUT of the first Axe-Fx to the MIDI IN of the second and use any of the DUMP TO MIDI entries in the UTILITY menu.

• Page 162: Firmware Updates

   On the Axe-Fx II, press UTILITY and select the FIRMWARE page. Press ENTER.  Transmit the file from the computer to the Axe-Fx II. A progress bar will appear on the Axe-Fx II while it receives the firmware. It will take several minutes to transfer the file.

• Page 163: Troubleshooting

  A: See the tutorial on page 166. Q: My Axe-Fx II is behaving erratically or “froze up” while I was using it. What should I do? A: First try a simple reboot. If that doesn’t work, Disconnect MIDI, USB and MFC and hold RECALL while you power on the unit.

• Page 164
  It is also possible, however, that the preset in question uses Global Blocks that have changed. Q: When I play audio from the computer through the Axe-Fx II, the sound is processed by the effects, and I can’t hear the guitar. What’s wrong? A: Change the MAIN INPUT SELECT from USB to ANALOG (IN 1).

• Page 165: Appendix

  16.1 Table of Amp Types Amp Types in the Axe-Fx II are exacting digital models of the actual amps they are based on. Our approach is commonly referred to as “physical modeling,” where the individual components are modeled and assembled so the virtual model reproduces every aspect of how the real amp sounds and works as a system.MIMIC™…

• Page 166
  FAS BROWN “The Brown Sound” The original BROWN model from the Axe-Fx Ultra. FAS CRUNCH Created by Fractal Audio Our take on the ultimate British-sounding amp. More dynamic/open plus more gain. FAS LEAD 1 Created by Fractal Audio Neutral high-gain lead with a tight midrange.
• Page 167
  APPENDIX SOLO 88 RHYTHM Soldano® X-88 Chosen because the Rhythm channel of the 99 is identical to the that of the 100 SOLO 99 CLEAN Soldano® X99® Preamp Based on the clean channel of this midi-equipped motorized preamp. SOLO 99 LEAD Soldano®…

• Page 168: Table Of Cab Types

  Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Fractal Amplifier TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them 1×6 OVAL 45.

• Page 169: Loading User Cab Irs

  SETTINGS area. 4. Transmit the file from the computer to the Axe-Fx II. The Axe-Fx II will not show a progress bar, but its MIDI IN LED will flash. If the IR File you transmitted has an embedded name, this will be displayed on the Axe-Fx II in the bottom line of the CAB PG2 menu once the file has been received successfully.

• Page 170: Shortcuts Overview

  IN THE I/O CONTROL MENU:  Press ENTER to start LEARNING MODE for any function on the page. Move the external controller or send a MIDI CC# to the Axe-Fx II, and the selected function will learn the assignment. IN THE SEQUENCER MENU …

• Page 171: 60-Second Edit Guide

  APPENDIX 16.5 60-Second Edit Guide The following is provided as a quick start-up or reminder about editing on the Axe-Fx II. Figure 16-1 – 60-Second Edit Guide Doc v11.03…

• Page 172: Understanding Preset Size Limits

  CPU usage (and provides a specific numerical readout above). If the total CPU load were to exceed 98%, the Axe-Fx II would become unable to do much of anything, so there are safeguards that prevent this condition from occurring. First, you are stopped from inserting any block whose potential CPU usage might cause an overload by the message “INSUFFICIENT CPU”;…

• Page 173: Lfo Waveforms, Duty, And Phase

  16.8 LFO Waveforms, Duty, and Phase All of the modulation effects in the Axe-Fx II (Chorus, Flanger, Delay, Phaser, Tremolo, etc.) and the two Global LFOs share a common set of waveform types—“shapes” that define the way they change over time. These are represented below, together with an indication of how the parameter controls wave symmetry.

• Page 174: Tempo Cross Reference

  16.9 Tempo Cross Reference The tables below list the rhythmic values available in every tempo parameter on the Axe-Fx II. The first lists these in the order they appear as you turn the VALUE wheel, with their equivalency in BEATS. The heavy border shows a breaking point between common and uncommon tempos.

• Page 175: Mono And Stereo

  L+R. 4. Mono and Stereo at Once – New for the Axe-Fx II is the ability to operate OUT2 as a summed MONO copy of the stereo OUT1 signal (or vice versa). Select COPY OUT1>OUT2, then choose the output mode for each pair of jacks that best suits your needs.

• Page 176: Mixology

  LEVEL The four channels of an Axe-Fx II mixer are “wired” to the four grid rows in the column to the left of the mixer. In the first example at left, the level of Effect A would be controlled by the mixer’s CHANNEL 1 control, because A is on grid row 1.

• Page 177: Humbuster™ Technology

  «cheater plugs,» expensive isolation transformers, or other noise reduction devices or methods. It is especially helpful when using the Axe-Fx II with a device like an amp head, which can both add and amplify ground hum, but it provides similar benefits when connecting to the 1/4″…

• Page 178: Setting Up A Wah Pedal

  4. Assign the External Controller to the Wah parameter. Here are the steps in greater detail: 1) Connect an expression pedal to the onboard pedal jack of the Axe-Fx II. Expression pedals use Tip-Ring- Sleeve cables and typically have a linear resistance taper.

• Page 179: Using An Expression Pedal On An Mfc-101

  3) Since Expression Pedal #2 on the MFC-101 is pre-configured to send MIDI CC# 16, and MIDI CC#16 is pre- configured to control EXTERNAL 1 on the Axe-Fx II, no special settings are required in the I/O menu for this tutorial.

• Page 180: Setting Up Spillover

  APPENDIX 16.14 Setting Up Spillover Spillover allows delay and reverb tails to ring out when an effect is bypassed or when you change presets. This method details how to set up spillover when using different presets. Firmware 9.0 added SCENES capability, which makes it easier to get perfect spillover within a single preset as detailed in the first section below.

• Page 181: Using Send And Return

  LEVEL At left, the significant columns of this preset are shown as they would appear on the display of the Axe-Fx II. Notice that on the Axe-Fx II the connector from SEND to RETURN is not visible! Countless variations of Send/Return loop presets are possible when you use different effects, vary their order, or enter and tap the loop in different places.

• Page 182: Extending The Length Of Effect Chains

  MFC-101. In the example below, three scenes of an Axe-Fx II preset are shown. AMP and CAB remain ON in all three scenes. In Scene 1 (“S1,” top) DELAY and REVERB are engaged. In Scene 2 (mid), DELAY is switched off, while COMPRESSOR…

• Page 183
  APPENDIX and PHASER are simultaneously switched ON. In Scene 3 (bottom), COMPRESSOR, DRIVE, CHORUS, MULTITAP DELAY and REVERB are on. X-Y states and preset MAIN output level can also be set differently in each scene. Figure 16-4 — Block Bypass Changes Across Three Scenes Doc v11.03…

• Page 184: Selecting Scenes

  APPENDIX 16.16.1 Selecting Scenes The current scene is shown on RECALL:PRESET screen, and on all pages of the LAYOUT menu. Figure 16-5 — «Scene 1» shown on the RECALL:PRESET screen Figure 16-6 «Scene 1» shown on the LAYOUT:EDIT (grid) screen. To select a scene, turn the “A”…

• Page 185: Spillover In Scenes

  Program Change to Scene Mapping… The Axe-Fx II MIDI Program Change Map (See the Axe-Fx II Owner’s Manual, Section 9.3) has been updated so that SCENE as well as PRESET can be mapped for each incoming program change message. Ignore Redundant PC (under I/O: MIDI) must be ON for seamless scene changes via PC.

• Page 186: Scene Features

  It is possible to directly assign any scene (SCENE 1, 2, 3 etc.) or to select “SCENE INCR” or “SCENE DECR” as the function for any Axe-Fx Mode IA switches. Changing scenes (whether on the Axe-Fx II front panel or remotely) also updates MFC-101 LEDs for all Axe-Fx Mode IA Switches.

• Page 187: Glossary & Resources

  Feedback is also sometimes known in the effects world as “regeneration” and, less aptly, “resonance.” Four Cable Method (4CM): A rig design where the Axe-Fx II is used both “in front of” and inside the effects loop of a tube amp. See p.

• Page 188
  Latency: In terms of effect processors, latency is an unwanted delay between what you play and what you hear. The Axe-Fx II latency is so low that it is equivalent to standing just a few feet away from a tube amp.
• Page 189
  SysEx: Short for System Exclusive. A type of MIDI data that can be understood only by the particular make and model of MIDI device that created it. On the Axe-Fx II, it is used for presets, banks, system backups, and User Cab IR files, and to allow real-time control of the unit via a connected MFC-101 or computer running Axe-Edit (q.v.).

• Page 190: Axe-Fx Ii Bank & Preset Numbers Table

  16.18 Axe-Fx II Bank & Preset Numbers Table The following table shows the BANK and PROGRAM CHANGE commands needed to recall an Axe-Fx II preset via MIDI. Bank select commands persist until another valid bank select is received or the unit is rebooted. Remember that DISPLAY OFFSET (p.

• Page 191: Factory Default Settings

  APPENDIX 16.19 Factory Default Settings GLOBAL CONFIG Power Amp Modeling: Cabinet Modeling: Spillover: BOTH Global Amp Gain: Global Reverb Mix (offset): Global Effects Mix (offset): GLOBAL OUT 1 All bands flat (0.00) GAIN: Flat (0.00) GLOBAL OUT 2 All bands flat (0.00) GAIN: Flat (0.00) GLOBAL SCALES…

• Page 192
  APPENDIX I/O CONTROL Default CC assignments appear in the table below: Function Function Function Input Volume Compressor 1 Bypass Resonator 1 Bypass Out 1 Volume Compressor 2 Bypass Resonator 2 Bypass Out 2 Volume Crossover 1 Bypass Reverb 1 Bypass Bypass Crossover 2 Bypass Reverb 2 Bypass…

• Page 193: Specifications

  SPECIFICATIONS 17 Specifications FRONT PANEL INPUT Connector: 1/4” phone jack, unbalanced. Impedance: 1 MegaOhm (less if Input Impedance is active) Max. Input Level: +16 dBu (conditioned for guitar use) REAR INPUTS Connector: 1/4” phone jack, balanced. Impedance: 1 MegaOhm Max. Input Level: +20 dBu A/D CONVERSION Bit Depth:…

• Page 194: Midi Implementation Chart

  BANK select messages are persisted until a subsequent valid Bank Select Program Change is received. Selecting a preset via the Axe-Fx II front panel will also transmit the corresponding bank select and program change number messages Fractal Audio The list of parameters that can be controlled/edited via SysEx is listed in the Owner’s Manual under Factory Default Settings.

• Page 195: Warranty

  This warranty only applies only to products sold and used in the USA and Canada. Fractal Audio Systems shall not be liable for damages or loss resulting from the negligent or intentional acts of the shipper or its contracted affiliates.

• Page 196
  NOTES Doc v11.03…
• Page 197
  Axe-Fx II Input/Output Hardware & Parameters Guide Input 1 Main Out 1 Out 1 “The Grid” OUTPUT Instr Left Input Input 1 Out 1 Out 1 Global Global Instrument Out 1 PHONES LEVEL1 Select Source Mode Mode Phase Gain Boost/Pad…
• Page 198
  Axe-Fx II MIDI Routing and Parameters Outgoing MIDI generated by the Axe-Fx II is sent to all outputs (“dumps” are to MIDI or USB.) a. The MIDI OUT port. b. The MIDI out pins of the bidirectional MIDI IN port.
• Page 199
  AUDIO IN RIGHT AUDIO IN 2 LEFT AUDIO IN 2 RIGHT meeting Play audio tracks into the Axe-Fx II for Record the processed output of the USB 2.0 (or better) systems also allow Send MIDI from your sequencer to the…