axe fx ii owners manual

5/20/2018 Axe Fx II Owners Manual

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Legal Notices

Fractal Audio Systems Axe-Fx II Owners Manual. Contents Copyright 2011 -

No part of this publication may be reproduced in any form without the permiss

Fractal Audio Systems, Axe-Fx, Axe-Fx II, Axe-Fx II XL, Axe-Fx II Mark II, G2 Mode

Multipoint Iterative Matching and Impedance Correction (MIMIC), UltraRes, V

trademarks of Fractal Audio Systems. Manufacturer names and product names

or registered trademarks of their respective owners, which are in no way assoc

Audio Systems. The names are used only to illustrate sonic and performance ch

Important Safety Instructions


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Certificate of Conformity

Fractal Audio Systems, USA, hereby declares on its own responsibility t

Axe-Fx II Digital Guitar Preamplifier and Effect

Axe-Fx II Mark II Digital Guitar Preamplifier and Ef

and Axe-Fx II XL Digital Guitar Preamplifier and Eff

That are covered by this certificate, and marked with CE label, confor

EN60065

(IEC 60065)

Safety requirement for mains operated electronic and relate

similar use.

EN 55103-1 Product family standard for audio, video, audio-visual, and e

apparatus for professional use. Part 1: Emission.

EN 55103-2 Product family standard for audio, video, audio-visual, and e


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Foreword

Thank you for purchasing an Axe-Fx II, one of the most powerful m

ever produced. Please take the time to read through this manual t

the Axe-Fx II.

Thinking back to a date when the first Axe-Fx units rolled off the li

have been a challenge to predict the scale of what was to follow

such a worldwide success that we would have a hard time keeping

would rally around the unit, from online Axe-evangeliststo the w

players; that wed soon be writing the foreword to a manual for th


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TABLE OF CONTENTS

Table of Contents

Foreword ...........................................................

Table of Contents ...............................................

Whats New.......................................................

1 Introduction ..................................................

1.1 What is the Axe FX II? .........................................

1.2 The Inventory/Grid Concept ................................

1.3 Connectivity and More ........................................


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Axe-Fx II XL and MFC-101 Mark III ................................................3.4.10

Axe-Fx II XL & MFC-101 Mark III: One Possible Big Rig..............3.4.11

4 Basic Operation and Editing ...........................

4.1 Presets ................................................................

4.2 The Grid ..............................................................

Inserting and Removing Blocks .....................................................4.2.1

Shunts ...........................................................................................4.2.2

Connector Cables ..........................................................................4.2.3

Moving Blocks on the Grid .............................................................4.2.4

Example Presets on the Grid ..........................................................4.2.5

4.3 Editing Sounds ....................................................

Quick Control4 3 1


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TABLE OF CONTENTS

Reverse Delay ...............................................................................5.6.6

Tape Delay .....................................................................................5.6.7

Delay Common Parameters ...........................................................5.6.8

5.7 Drive [DRV] .........................................................

5.8 Effects Loop [FXL] ................................................

5.9 Enhancer [ENH] ...................................................

5.10 Feedback Send [SND] & Return [RTN] ..............

5.11 Filter [FLT] ........................................................

5.12 Flanger [FLG] ....................................................

5.13 Formant [FRM] .................................................


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Intelligent Harmony .......................................................................5.24.3

Classic Whammy ...........................................................................5.24.4

Octave Divider ..............................................................................5.24.5 Crystals ..........................................................................................5.24.6

Advanced Whammy .......................................................................5.24.7

Arpeggiator ....................................................................................5.24.8

Custom Shifter ..............................................................................5.24.9

5.25 Quad Chorus [QCH] ..........................................

5.26

Resonator [RES] ................................................5.27 Reverb [REV] ....................................................

5.28 Ring Modulator [RNG] ......................................

5 29 R S k [ROT]


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TABLE OF CONTENTS

Transformations ............................................................................7.2.1

Scale and Offset ............................................................................7.2.2

Damping ........................................................................................7.2.3 Auto Engage ..................................................................................7.2.4

Program Change Reset .................................................................7.2.5

7.3 Control Sources ...................................................

LFO1 & 2 ........................................................................................7.3.1

ADSR 1 & 2 .....................................................................................7.3.2

Sequencer ......................................................................................7.3.3

Envelope Follower .........................................................................7.3.4 Pitch Detector ...............................................................................7.3.5

Manual Knobs ...............................................................................7.3.6

Scene Controllers ..........................................................................7.3.7

E t l C t ll7 3 8


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11 Tuner ..........................................................

12 Tempo ........................................................12.1 Setting the Tempo ............................................

12.2 Synchronizing Sound Parameters .....................

12.3 Tempo to Use ...................................................

12.4 Auto Delay .......................................................

12.5 Metronome ......................................................

13 Backing Up and Restoring ............................

13.1 MIDI/SysEx Backup and Restore......................


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TABLE OF CONTENTS

16.12 Setting up a Wah Pedal ..................................

Using the Onboard Pedal Jack ..................................................16.12.1

Using an Expression Pedal on an MFC-101 ...............................16.12.2

16.13 Setting Up Spillover .......................................

Within a Single Preset ...............................................................16.13.1

Across Different Presets............................................................16.13.2

16.14 Using Send and Return ..................................

Creating Feedback Loops .........................................................16.14.1

Extending the Length of Effect Chains ......................................16.14.2

16.15 Scenes ...........................................................

Selecting Scenes .........................................................................16.15.1

SETTING UP SCENES ..................................................................16.15.2


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Whats NewYears of R&D at Fractal Audio Systems have yielded our next-generation produ

power of our former flagship the Ultra, the Axe-Fx II unveils new state-of-the-a

array of great hardware and software features and improvements. This all-in-o

stunningly recreates complete signal chainsstompboxes, amps, cabs, mics, st

unprecedented power, flexibility, and control. The Axe-Fx II takes "real amp ton

offering the latest word on restoring digital to its rightful place as the superior s

Twice the Processing Power

Our philosophy is never to cut corners on processing power. Our new state-of-t

powerful platform on which to operate, so the Axe-Fx II features two 600 MHz

TigerSHARC Digital Signal Processors working in tandem. One is devoted solel

handles effects and system tasks. Mated to the processors is double the RAM o


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WHATS NEW

Easier-to-Use Front Panel Features

A new, custom-designed 160x80 backlit LCD provides improved readability and

addition to the main VALUE knob, new QUICK CONTROL knobs provide hands-oscreen parameters. Ten block typesAmp, Cab, Chorus, Drive, Delay, Flanger,

Wahwahare now equipped with two fully independent parameter sets called

feature allows one block to have all of its settings switched at the touch of a bu

remote control (during performance). The X and Y buttons also double as user-

can be set up to open the EDIT menus of any two blocks without going through

enables onboard backups of preset banks and system settings.

Axe-Fx II/Computer Integration with Onboard USB

The new onboard Audio Class 2.0 compliant USB interface provides great capab

integration. You can record high quality 48k/24-bit audio from the Axe-Fx II dire

process audio tracks from the computer through the Axe-Fx II, and use two-way

i f O USB 2 0 b i l l d b


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New FX Processing Features and Enhancements

The effects-processing capabilities of the Axe-Fx II have been vetted and endor

discriminating players in the world. The sound and features of our effects provirepresentations of many classic originals, plus the range to take you where no t

TYPE control to instantly set all other parameters, it is easier than ever to dial in

blocks. Types include tape and analog "bucket brigade" delay effects, script"

dimension chorus,jet flanger, vibe phaser, many classic wah pedals, whamm

Share Settings Across Multiple Presets with Global Blocks

Those familiar with Global Amps from previous Axe-Fx products will apprecia

Fx products will appreciate how this feature allows centralized control of a preseffect blockto a special memory area, then load it into multiple presets with

synchronized to the master. You can even update the master from any linked in

remove a link, this leaves both the original and the new copy fully independent


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INTRODUCTION

1Introduction

1.1 What is the Axe FX II?

The Axe-Fx II is an advanced digital preamp and effects processor for guitar, ba

replaces amps, speakers, microphones, stompboxes, studio processors, and mo

great tone solution in a single black box.

Inside, a virtual environment allows you to build your dream rig (hundreds of thinventory of hundreds of classic and innovative components. Select and arrang

only by the units ample CPU resources and your imagination. Dial in your sig

or go deeper with advanced parameters, then save presets for instant recall wh

recording.


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dimension chorus, tape delay, analog flanger, script 90 phaser, and ma

selection, however, you can go beyond the model. With deep recreations of the

great tone, we create not only a sample or profile but a multidimensional wholhear it for yourself.

To re-pose the original question then, what is the Axe-Fx II?

The Axe-Fx II is the new flagship processor from Fractal Audio, with far more po

than the former heavyweight champion, Axe-Fx Ultratwice the DSP in fact, al

detailed amp modeling, plus numerous other upgrades. It contains our best-ev

effect technologystate-of-the-art algorithms designed to sound and feel like tfully programmable, real-time controllable, multi-effects processor offering the

unrivaled flexibility and control options. It is a modeling platform upon which y

incredible guitar tonesable to replace entire rigs of traditional gear with a sin

these concepts a bit further:


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INTRODUCTION

1.2 The Inventory/Grid Concept

In the real world, we are limited by the equipment we own and by the fact thatcommitments. On the Axe-Fx II, these limitations are lifted, with the ability to t

cabs, effects, mixers, and more. You have the freedom to set them up, dial them

do it all again, as often as you like.

Axe-Fx II presets are created by selecting componentslike amps, cabs, or effe

them as blocks into the slots of a 124 grid. As with their real-world compo

together using cablesvirtual ones in this case. Blocks in adjacent columns m

with splits and merges as needed. Passive shunts carry signal through otherw


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The subject of creating and modifying presets on the grid is covered in detail in

Editing(p.27). The inventory of blocks available to every Axe-Fx II preset is liste

Amp (2) Filter (4) Mixer (2)

Cab (2) Feedback Return Multiband Compressor (2

Chorus (2) Feedback Send Multi-Delay (2)

Compressor (2) Flanger (2) Tremolo/Panner (2)

Crossover (2) Formant Parametric EQ (4)

Delay (2) Gate/Expander (2) Phaser (2)

Drive (2) Graphic EQ (4) Pitch Shifter (2)

Effects Loop Looper Quad Chorus (2)

Enhancer Megatap Delay Resonator (2)

In addition to the blocks listed above, each preset also includes a programmabl

Output Mixer(p.115). Of course, having components on the grid is just the beg

with parameters representing all the basic knobs you would expect to find, and


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OVERVIEW

2Overview

Review the following to familiarize yourself with the hardware features of the A

2.1 The Front PanelThe front panel shown is that of the Axe-Fx II XL. It is functionally identical to th


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INPUT/GTEcontains parameters for the Noise Gate and Instr

OUTPUT page contains a mixer for overall level control of a p

Select any block on the layout grid and press this button toPress repeatedly to cycle through EDIT menus of all blocks in the p

This menu contains pages for seven of the internal co

plus a Modifiers overview screen. SeeModifiers & Controllerson

This button toggles the bypass state of the currently

Double click BYPASS in any block EDIT menu to access SAVE/LOAD

This menu contains four pages: CONFIG, OUT1, OUT2,

CONFIGcontains parameters that globally affect the sound of

OUT1and OUT2each hold a 10-band graphic EQ and master

SCALESallows the creation of custom harmonies for use with

Engages the tuner (p.145)and displays its menu. Press


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OVERVIEW

2.2 The Rear PanelThe following section details the rear panel of the Axe-Fx II. Please note differe

models in numbered areas 22 (MIDI), 24 (MFC and FASLINK) and 25 (PEDALS)


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20.

This includes both S/PDIFand AES/EBUformat Input an

other pair of jacks can be active at any time depending on the setting o

in the I/O:AUDIO menu (p.134). These jacks transmit and receive at a

21.

This provides the means to connect the Axe-Fx II to a PC or Mac

and MIDI capabilities. See section2.3on p.12.Like the digital i/o, USB

22. jacksThe Axe-Fx II XL has separate dedicated MIDI IN, MIDI OU

Unlike a shared/soft MIDI THRU, the XLs dedicated MIDI THRU jack ad

to the MIDI IN PORT, and therefore does not pass signals from other M

when using an MFC-101 at the FASLINK or MFC port of an Axe-Fx II Xas a soft THRU by setting MFC ECHO TO MIDI OUT to "ON" (on the MID

The Axe-Fx II Mark II has a MIDI Out/Thru combo jack that transmits o

device. MIDI THRU is disabled by default but can be enabled on the M


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OVERVIEW

2.3 Computer Integration

USB provides every Axe-Fx II with a host of great features.

Minimum Requirements2.3.1

Windows Minimum Requirements:

OS: Windows 8.x, Windows 7 SP1, Windows Vista SP2 (All version

CPU: Intel Core 2 @1.6 GHz or better, or AMD equivalent

Memory: 1GB minimum

USB 2.0 support required

Mac Minimum Requirements:


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Capabilities2.3.3

The USB 2.0 class-compliant driver provides two channels of 48k/24-bit audio f

up to four channels from the Axe-Fx II to the computer, and two-way MIDI-ove

simultaneously. Note that even though the Axe-Fx II is fully class-compliant, yo

athttp://fractalaudio.com/support .
http://fractalaudio.com/supporthttp://fractalaudio.com/support


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OVERVIEW

Four Simultaneous Channels of 48k/24-bit Audio from the Axe-Fx

Four outputs, typically numbered 14, allow audio to be routed from the Axe-F

processed, or monitored.

USB/DIGI OUT SOURCEin the I/O:AUDIO menu (p.134)determines what is sen

Selecting OUTPUT 1 L+R sends the Axe-Fx II main output to the co

course, still routed normally to the rear XLR and unbalanced jacks

processed guitar.

Selecting OUTPUT 2 L+Rroutes output 2typically the FX loop bl

Selecting MAIN INPUT routes the main input (see MAIN INPUT SEL

A similar result can be obtained by using OUTPUT 1 with a sh

Remember to turn off the Input Noise Gate and set Output le

Switching INPUT 1 LEFT SELECT (p 134) to REAR allows you to


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3Connections

Before making connections, be sure to turn down the volume of your a

extreme care NEVER to connect the SPEAKER outputs of an amplifier to

damage one or both devices. If youre not sure, dont do it!

3.1 Setting Levels

For the Axe-Fx II to work properly, it is important that input and

output levels be configured correctly.

INPUT LEVELSare set with soft-knobs on the INPUT page of the

I/O menu. Adjust according to the level of input source material

until hot signals tickle the red LEDs on the front panel INPUT


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CONNECTIONS

3.2 The PEDAL Jack(s)

Note: the Axe-Fx II XL has twoonboard jacks. The Mark II has one.

Connect an expression pedal or footswitch to the pedaljack to control sound fu

the TYPE, and perform a simple calibration routine when using an expression pe

how to use the PEDAL page of the I/O menu.

Any type of external switch can be used, as long as its contacts make and break

sleeve on a regular 1/4 guitar cable. Expression pedals should have a linear res

between 10kand 100k, and must be used with Tip-Ring-Sleeve cables.

To control sound parameters, you must first assign the PEDAL jack to an EXTER

a MODIFIER. This topic is covered in section7: Modifiers & Controllerson p.

aboutExternal Controllers on p.131.


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3.4 Connection Diagrams

This overview will help familiarize you with the various inputs, outputs, and conThe diagrams that follow in sections 3.4.1through 3.4.10illustrate several real-

Note that the Axe-Fx II Mark II has a shared MIDI OUT/THRU, and that MIDI THR

menu. The Mark II also does not have a FASLINK port, so an MFC-101 would b

Ethernet/EtherCON or a FASLINK adapter.


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CONNECTIONS

Axe-Fx II into Self-Powered Full-Range Speakers3.4.1

COMPONENTS:

Guitar

Axe-Fx II

Self-Powered Full Range

Speaker(s)

Headphones (opt.)


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Axe-Fx II with Power Amp and Guitar Speakers3.4.3

COMPONENTS:

Guitar

Axe-Fx II

Power Amp and

Guitar Speakers

-OR-

Amp Head/Combowith FX RETURN jack

(power amp input)

and Guitar Speakers


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CONNECTIONS

Axe-Fx II Effects Loop3.4.4

COMPONENTS:

Guitar

Axe-Fx II, connected as

desired to

monitors/mixers/amps/

etc. (see other diagrams

for setup ideas)

Outboard Processor or

Preamp

Global Settings: See Below I/O Settings: See Below


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Axe-Fx II Four Cable Method (4CM)3.4.6

COMPONENTS:

Guitar

Axe-Fx II

Guitar Amp with a series

effects loop1and built-in

or separate Guitar

Speaker(s).

Second Amp for Stereo(opt.)


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CONNECTIONS

Direct to FOH plus Real Amps on Stage3.4.7

COMPONENTS:

Guitar

Axe-Fx II

Guitar Amp

with Guitar Speaker

Front-of-House P.A.


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Axe-Fx II as Effects Processor Only (with Guitar Amps)3.4.8

COMPONENTS:

Guitar

Axe-Fx II

Guitar Amplifier with

built-in or separate

speaker cabinet


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CONNECTIONS

Axe-Fx II as a Computer Audio Interface3.4.9

COMPONENTS:

Guitar

Axe-Fx II

Computer meeting

minimum requirements

(p.12)

Powered Monitors

Headphones (opt.)


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Axe-Fx II XL and MFC-101 Mark III3.4.10

COMPONENTS:

Guitar

Axe-Fx II

XLR Cable (for

FASLINK)

MFC-101 Mk III

MIDI Foot Controller


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CONNECTIONS

Axe-Fx II XL & MFC-101 Mark III: One Possible Big3.4.11


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4Basic Operation and EditingOnce you have set up your Axe-Fx II with speakers/amps/monitors or a pair of h

audition the factory preset sounds and learn to make changes by following this

For a super-condensed version, see the60-Second Edit Guide on p.161of the A

4.1 Presets

Each factory preset is a complete end-to-end guitar sound with amps, cabs, a

ready to perform. In the sections that follow, youll learn to view, edit, and crealets look at the ways to load the presets stored in the Axe-Fx II.

Presets are accessed from the PRESET page of the RECALL menu. There are 4 w


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BASIC OPERATION AND EDITING

4.2 The Grid

The grid, located on the EDIT page of the LAYOUT

menu, is a 12 4 matrixwhere effect blocks

are inserted and connected to build presets. The INPUT

appears at the left, the OUTPUT at the right. The display can fit a 5 4 section o

with the ability to scroll to off-screen areas using the buttons. A bottom sc

the overall left-to-right layout.


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The total number of blocks you can insert in any one preset is dictated by the fa

exceed around 94%. Each block has a cost, and when the sum of all blocks rea

prevents you from adding additional blocks. The Axe-Fx II is extremely powerfu

close to the limit. SeeUnderstanding Preset Size Limitson p.162for more on t

To CHANGE the type of an existing BLOCK

Use the buttons to select the desired block.

Turn the wheel. Available block names (AMP 1, CAB 1, etc

alphabetical order, and the selected block (if visible) will flash.

The Axe-Fx II offers multiple instances of most block types (exTo keep the list manageable, only the next-in-lineinstance

insertion menu, so AMP 2 is hidden until you have placed AM

When the desired block is shown press To cancel withou


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To INSERT a SHUNT into an empty grid location

Use the buttons to select the desired empty grid location.

Turn the wheel once to the right. SHUNT will be displaye

space will flash if not hidden.

Press . To cancel without inserting, press instead.

To CHANGE any other block type into a SHUNT

Select the desired block.

Press.

SHUNT will be displayed in a popup, and the selecte

Press .To cancel without inserting, press instead.

Connector Cables4.2.3


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The Rules of Axe-Fx II Cables

No cables = No sound. Even one missing link will break the entire

Signal always flows from LEFT to RIGHT.

A cable MUST originate from a BLOCK or a SHUNT. Empty location

If you try to connect to an EMPTY location, a SHUNT will be create

You can ONLY connect to blocks in the next column to the right.

The represents the origin of a connector cable.The shows valid possible destinations.

The symbol shows destinations that are illegal/una

Any columns farther left or right would also be illegal/If the were in a different ROW, every would stil

Cables are created AUTOMATICALLY between the INPUT and any

Cables are created AUTOMATICALLY between the OUTPUT and an


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Use the UP or DOWN buttons to select the other end of the

Press ENTER. To cancel without removing, press EXIT instead.

A Shortcut for Spanning Empty Spaces

This shortcut allows you to span multiple empty grid columns with a series of a

technique is especially useful when you have placed your last effect block and n

you want to fill an empty row with shunts.

Select any block that is followed by a series of empty spaces.

PRESS and HOLD the button. The intervening spaces will b

and connected with cables.You can also use this shortcut for small runsto connect any blocks with one o

between them, but be careful: any existing cables encountered along the way w


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Example Presets on the Grid4.2.5

Four sample presets are shown below as visualized in Axe-Edit, the companion

Review the diagrams to get a sense of how presets are constructed and how th

EXAMPLE 1: Simple Amp ToneIn this extremely simple preset, an AMP and a

ahead tone. Shunts and connectors (which appear in Axe-Edit almost as one co

to the AMP, the AMP to the CAB, and the CAB to the OUTPUT.


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EXAMPLE 3: Dual Amp PresetThis preset shows a dual-amp rig. A series of ef

begins the chain, then the signal is split into two amps and two cabs. Signal is p

block BALANCEcontrols and then merged to feed stereo post effects. A Multiba

dynamics, while spaces in the chain leave plenty of room for future expansion.

Figure 4-8Dual Amp Preset


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4.3 Editing Sounds

The blocks of the Axe-Fx II represent diverse types of real-world equipment. In

devices are equipped with different controls, blocks also typically have many ad

parameters.Parameter settings determine precisely how an effect will sound. T

display of the Axe-Fx II. The system of parameters and pages for any block is ref

To Open the EDIT Menu for Any Effect Block

With a preset loaded in normal mode

Press to display the GRID.

If the GRID is not shown at first, press to reach the EDIT ta

Use the buttons to select the desired


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Quick Control4.3.1

The functions of the , , and knobs depend on which A

or function is selected.

In the main screen, the A knob selects SCENES. See section16.15

In every EDIT menu1, A, B, C and D are dynamically mapped to four on-scr

parameters for easy editing of multiple controls without the keys. M

indicated by a small A, B, C or D above or to the left of on-screen paramet

When editing Amp TYPE, A, B, and C are conveniently mapped to DRIVE, M

While on the MANUAL page of the menu, A, B, C and D work a

allowing control of assigned parameters. See p.131. While STORING a preset, A, B, C and D are used as shortcuts to enter text

4.4 X/Y Switching


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X-Y / Y-X Copying

You can copy all of the settings from X to Y, or Y to X, by double tapping the but

to,and then pressing to confirm. So, to copy X to Y, double-tap and th

double tap when you dont want to copy, press to cancel.

X/Y Quick Jump4.4.1

The X and Y buttons also double as user-definable Quick-Jump keys. These allow

your two favorite blocks from almost any screen without needing to drill down

instance, set X to jump to AMP1, while Y might be assigned to bring up the

Quick-Jump is disabled if you are already in the EDIT menu of another block (inc

sub menus), or if you are in the process of SAVING (where X and Y are used for

Quick Jump settings are assigned in the X/Y page of the I/O menu, detailed on p


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4.7 Saving Changes

After making various changes, you will undoubtedly want to save the results of

To store a sound in place, without changing its name or location

Press to show the STORE screen.

Press to initiate the process, and again to confirm.

The message STORED! is displayed when the operation completes.

To store a sound to a new location or with a new name

The Axe-Fx II has hundreds of numbered preset memory locations. It is possible

any location. It is also possible to change the NAME of a preset before you stor

Press to show the STORE screen


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5Effects Guide

The Axe-Fx II offers 34 different basic block types that can be combined freely uresources to create your own presets. An alphabetical listing of block types foll

5.1 Amplifier [AMP]

The Ampblock reproduces the sounds of an impressive array of vintage and mo

with 185+ different typesbased on stock, custom and hybrid models. You get

II using only the basic drive and tone controls on PG1 and PG2 of the edit menu

exactly like those on actual amp.

The first few pages of easy knobs cover everything you need to dial in your amp

parameters offer deeper control, but dont fear the unknown: values are set r


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EFFECTS GUIDE

Basic Amp Parameters (TYPE, PRE, PWR, EQ Pages)5.1.1

Amp Type

Amp types are presented in an alphabetical list. A complete table appears on pMASTER, and LEVELparameters directly from the TYPEpage by using the A, B, an

A note on DRIVE controls: there are three possible drive configurations which vary bas

amps have only an INPUT DRIVE control (i.e. BRIT 800, DELUXE VERB.) Other types ha

(e.g. USA LEAD, ODS-100 LEAD.) Finally, those models that simulate jumpering the in

50W JUMP, HIPOWER JUMPED) have separate individual TREBLE DRIVE and NORMAL

Input Drive Controls for their respective channels.

INPUT DRIVE(aka Drive) sets the amount of preamp gain/distortion

MASTER(see below), INPUT DRIVEdetermines whether the sound will be cle

overdriven or completely distorted


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BRIGHT SWITCHMany amplifiers contain a treble peaker, included

hard-wired. Every amp TYPEon the Axe-Fx II includes this control (even if th

effect may be subtle or quite pronounced depending on the amp TYPE. This

setting (p.54). If the original amp had no bright circuit, BRIGHT is OFF by def

apply circuit values suited to an amp of that general type. If the amp has a

default BRIGHTstate is ON. To turn the bright switch ON or OFF, use the

and press ENTER. The BRT switch beneath the knob will fill to indicate th


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EFFECTS GUIDE

NEG FDBKThis controls the amount of negative feedback, or damping,

Higher values give a tighter and brighter sound but can sound harsh at very

values give a loose and gritty sound and feel. Like many other power amp p

set to an appropriate value whenever you change the amp TYPE, but it can

example, you might dial in some negative feedback on a Top Boostto giv

American sound while still retaining the preamp voicing.

MASTER VOLUMEThe almighty Master Volumeis a very important c

and dynamics characteristics of the power amp simulator, and its setting is

Master is turned up, the entire character of the amp will change. The tone

the sound, and the sound will have more bloom and touch sensitivity. Se

correspond to knob positions on the amp being modeled. With a little expe

Fx II amps, you will learn to appreciate the qualities of different DRIVEand

to find the great tones offered by different combinations.


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HI FREQ, HI RESA loudspeaker voice-coil presents an inductive load to

frequencies. This inductive load, in conjunction with the output transforme

frequency resonance at the specified frequency.

XFRMR LF, XFRMR HFThese set the output transformer bandwidth.

SPEAKER DRIVEThis parameter simulates distortion caused by pushin

the MASTER,which determines how hard the actual power amp is pushing.

XFRMR DRIVEControls how hard the virtual output transformer is driv

smaller, more easily saturated transformer.

Amp Dynamics Parameters5.1.3

SUPPLY SAGThis controls power amp dynamics. Higher settings simula

and thus greater tube plate voltage droop for a more compressed feel T


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EFFECTS GUIDE

of power amp distortion is achieved, then adjust matching until the charac

The various LF and HF resonance parameters interact strongly with this par

with those as well when crafting a tone.

Advanced Amp Parameters5.1.4

INPUT SELECTThe AMP block processes audio in mono. This control d

signals will be processed. You can input only LEFT or RIGHT channels, or SU

MODELING MODE Formerly Grid Modeling, this parameter has be

offers the following choices:

AuthenticReplicates a tube amplifier with the utmost accuracy.

SmoothSets Triode Hardness to minimum, essentially creating a

conduction in the power amp. This removes some of the nasty d

Ideal Removes most of the warts from the modeling which inc


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characteristics are adjustable via the Dynamic Damping parameter. The val

you set the TUBE TYPEparameter on the PWR page.

DEFINITIONThis control is a basic tilt EQ which adds highs/cuts lows

amp input, so its effect is heard before preamp distortion or a front-end to

CHARACTER, CHARACTER FREQ These two parameters control a p

which adjusts tone dynamically in a very musical way. CHARACTER FREQUEN

filter while CHARACTERsets how pronounced the effect is. To darken the to

set the frequency to 10000 Hz and the amount to a negative value. A posit

effect of brightening the amp when pushed. CHARACTERdefaults to zero w

BRIGHT CAPSets the value of a virtual capacitor to determine the son(above). Increasing this will make the preamp brighter and vice versa.

MV CAPThis sets the value of the bright cap across the Master Volume


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EFFECTS GUIDE

DEPTH FREQAlters the center frequency of the amps DEPTHand DYN

defaults to an appropriate value whenever you change the amp TYPE, but c

POWER TUBE BIASSets the bias point of the virtual power amp. Low

operation. Higher values approach pure Class-A operation.

NEG FEEDBACKThis is a duplicate of the same control on the ampsP

POWER SUPPLY TYPE, AC LINE FREQSelects between AC and DC

rectification and resulting supply ripple are modeled, and the line frequenc

values of Sag with low B+ Time Constant values can cause ghost notes w

real amp). Lower B+ Time Constant values will make the amp feel faster

MAINS IMP. (SAG)This is a duplicate of the SUPPLY SAGparameter on

Preamp modeling uses screen voltage from power amp incalculations ra

This improves feel as preamp voltage drops with power amp sag The effec


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POWER AMP LO CUT, POWER AMP HI CUTThese filters are pro

the virtual power amp. Note that in addition to applying a voicing filter, the

(Basic Amp Parameters,beginning on p.40)will also automatically set valu

CATHODE THRESHThis is the same as the CF COMP parameter on the

of compression in the virtual cathode follower.

CATHODE TIMEWorks with the CATHODE THRESH and RATIO, setting th

CATHODE RATIOSets the maximum amount of compression with low

TRIODE HARDNESSControls how rapidly the power tubes enter satu

aggressive character while lower values give a smoother breakup. This paravalue for each amp TYPE.

PREAMP BIASControls the bias point of the last triode (cathode follow

preamp Depending on the bias points of the previous stages this can alter

EFFECTS GUIDE


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EFFECTS GUIDE

5.2 Cabinet [CAB]

The SpeakerCabinetSimulator(Cab for short) recreates the tonal characteri

cabinet configurations. The Axe-Fx II XL contains over 155 built-in factory cablocations for loading custom User Cabfiles. (The Mark II contains 130+ factor

also offers room and microphone simulations (including sub-millisecond delays

Factory cabs include custom creations by Fractal Audio Systems, selections fromOwnHammer, RedWirez, and Kalthallen, TheAmpFactory, plus contributions fro

James Santiago, and loudspeaker design engineer Jay Mitchell.

The cab block supports both standard (2048) resolution IRs, and newer UltraRe

proprietary format that enhances the resolution of an IR without added CPU bu

Each Axe-Fx II preset can use two fully independent Cabblocks.

Cab X/Y Channel Switching

E h i t f th C b bl k t t f ll i d d t t f t


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To use a stereo Cab block with two amps, s

fully left, the balance control for the other

MODEset to STEREO. See Stereo Cab Mo

information.

CAB (TYPE)Sets the cabinet type by selecting from FACTORY and U

the table in section on p.158.The four SCRATCHPAD locations found at the

allow you to audition cabs before committing them to a memory location

when user cab memory is full, or when you are using Cab-Lab (available fro

Please note that the contents of the SCRATCHPADs are cleared every time

SPKR SIZEThis control scales the IR to simulate shrinking or enlarging

be used to shift where the tone sits in a mix, or to create dramatic effect

sound most natural SPKR SIZE is not offered in STEREO modes or when the

Figure 5-4 Two Amp Blocks into a STEREO Cab

EFFECTS GUIDE


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EFFECTS GUIDE

MIC SPACINGIncreases delay times inside the room reverb simulation

room microphone from the sound source.

LOW-CUT/HI-CUTAdjusts the cutoff points of first order high-pass an

cut to reduce bass boom. Decrease the high-cut to darken the tone.

MOTOR DRIVEThis models the effect of high power levels on the tone

parameter controls the relative drive level and, therefore, the intensity of t

AIR, AIR FREQ Adds air and sets the cutoff frequency to determine

Stereo Cab Mode Parameters

When the MODE of the CAB block is set to STEREO, independent instances of

for left and right.

CAB (TYPE) L/R

MIC L/R


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5.3 Chorus [CHO]

A chorus unit creates one or more delayed copies of the input signal and modu

layered effect of different voices. Used subtly, the effect can be ambient and liq

can produce a vibrato or Leslie effect. The Axe-Fx II offers a high-quality, mul

producing anything from exceptionally smooth ensemble effects to a wildly det

Each Axe-Fx II preset can use two fully independent Chorusblocks.

Figure 5-5The Chorus Block

EFFECTS GUIDE


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EFFECTS GUIDE

Advanced Chorus Parameters

DELAY TIMEAdjusts the minimum delay time from 0.050.0 ms. Lowe

sound while higher values go beyond double tracking towards slap back.

LOW CUTAdjusts the cutoff frequency of a high-pass filter at the outpu

control removes bass frequencies and can be useful to create chorus effect

HIGH CUTAdjusts the cutoff frequency of a low-pass filter at the outpu

Decreasing this value creates a darker chorus effect reminiscent of an age w

reproduce the full frequency spectrum. Lower this to achieve those sounds

LFO PHASEAdjusts the phase differential between left and right LFO w

noticeable effect on the stereo width of the chorus.

LFO TYPESets the shapeof the modulation. Sine and Triangle are the

Note: Whenever the number of voices is set to more than two the LFO type


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5.4 Compressor [CMP]

A compressor reduces the difference between loud and soft sounds by reducin

loud signals. The reduction is triggered when the input signal exceeds a set threthe volume of loud sections, it can simultaneously boost overall level for greate

In guitar pedalboards, a compressor is often placed at the start of an effects ch

of high-gain distortion can increase noise or squealing). In the recording studio,

towards the end of a signal chain to smooth irregular levels. The Axe-Fx II provi

compressors (detailed below).

Compressor X/Y Channel SwitchingEach instance of the Compressor block stores two fully independent sets of par

between these allows you to change all block settingsinstantlyat the touch

any Modifierassignments). SeeX/Y Switchingon p.36for more information.

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EFFECTS GUIDE

AUTOTurns the Dynamic Attack filter on or off. Turning this switch ON

rate according to the program material; the compressor will respond to fas

LOOK AHEADDespite fast attack times, a compressor can fail to catch

introduces a short audio delay so the compressors gain control stage has s

detector, which is side-chained with nodelay. Look ahead can reduce pop

compression is used on very percussive sources.

MIXSets the ratio of wet (compressed) and dry sounds. This should norm

THRSH(Threshold) Sets the level at which automatic volume reduction

exceeds the threshold, the compressor reduces output volume as set by th

PEDAL, the THRESHOLDis hidden and automatically set to minus infinity

SUSTAIN/RATIOIn PEDAL typecompression, SUSTAINincreases co

t d l k i I STUDIO t i SUSTAIN i l d b RA


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MAKEUPAutomatic Makeup gain, when turned ON, compensates the o

loudness at the current threshold and ratio. The LEVEL control can then be

DETECTSelects whether the compressor will use RMS (Root Mean Squ

detection. RMS detection is smoother and generally used to even out the l

long period of time. Peak detection, commonly used with guitar, is useful f

combines the best attributes of both: the speed of a peak detector and the

FILTERSets the frequency of a high-pass filter on the input of the comp

filter frequency can help prevent low frequencies from pumping the enti

SCSELSIDECHAIN SELECTdetermines which signal is used to feed the com

normal setting and selects the compressors input (sum of the rows feedin

input from a designated row, or either of the main inputs. The BLOCK L and

the compressor follows an effect with one side out of phase (delay, chorus

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EFFECTS GUIDE

5.6 Delay [DLY]

The Axe-Fx II Delayblock lets you create classic, modern, and innovative echo e

and then plays it back later in time, creating the effect of an echo...echoechoused for this purpose, but these had sound quality, noise, and reliability concer

provided an alternative to tape but had shortcomings of their own. The advent

for delays with pristine sound, longer times, and superior flexibility, plus the ab

simulate the favorable nostalgic qualities of tape, analog, and even lo-fi digita

Each Axe-Fx II preset can use two fully independent Delayblocks. Dontforget t

blocks (p.78), the one Megatap Delayblock (p.75), and the new Looperblock

Delay X/Y Channel Switching

Each instance of the Delay block stores two fully independent sets of paramete


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MSTR FDBKMaster Feedback scales any and all feedback parameters o

range of this control is 0200%, making it possible (easy, in fact) to overlo

MIXThis is a copy of the MIXcontrol on the MIX page, placed here for e

balance without page flipping.

LEVELThis is a copy of the LEVELcontrol on the MIX page, placed here fo

volume without page flipping.

Mono Delay5.6.1

The Mono Delaycan be used for a variety of great sounding standard and exot

the inputs into a single delay line.

EFFECTS GUIDE


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Please be aware that because the MONO delay contains only one delay line, th

MOD page have no effect. Similarly, the LFO TARGETparameters must be set to

occur.

Stereo Delay5.6.2

This stereo-in/stereo-out delay has the convenience of common controls for m

Figure 5-9The Stereo Delay Block


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Dual Delay5.6.3

This is a stereo-in/stereo-out delay with fully independent controls for most L-R

Figure 5-10The Dual Delay Block

EFFECTS GUIDE


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Ping-Pong Delay5.6.4

The echoes of this easy-to-use Ping-Pong Delayalternate between left and righ

Delay uses the same algorithm as the Stereo Delay (p. 66), except the ECHO PA

SPREADControls stereo width by setting the pan position of the delay o

mono (0%) to swapped hard pan (-100%).

RATIOAllows altering the time difference between the two echoes of th

Sweep Delay5.6.5

The Sweep Delayuses the same algorithm as the Stereo Delay (above, p. 67), bbandpass filter after the outputs of the delay.

START FREQ STOP FREQ These controls set the range of the filter sw


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RUNWhen this is turned ON, the reverse playback process is active and

will mute playback (though any samples in the buffer will still silently run o

operated with a modifier (attached, for example, to a footswitch) to stop a

TRIG RESTARTWhen this is set to ON the reverse playback restarts w

If set to OFF, playback continues from the current position. The combina

used to precisely align reversed passages to certain moments in a perform

reversing to the groove.

Tip: Ifyoure working with a sequencer, assign an EXTERNAL controller and re-trigge

TEMPOLocks the TIME parameter in rhythmic relation to the global tem

theMONO DELAYtype (above) for more about the relationship between B

XFADE TIMESets the crossfade time between reverse audio snippets.

EFFECTS GUIDE


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HEAD 1 TIMESets the distance between the virtual record and play he

heardwill be shorter ifMOTOR SPEED is increased above 1.0, or longer if b

HEAD 1 TEMPOLocks theHEAD 1 TIMEparameter in rhythmic relatio

TEMPO section under theMONO DELAYconfig (p. 66) for more informatio

HEAD 2 RATIOThe Axe-Fx II tape delay has two heads, or taps on th

position of the second playback head from zero to a maximum of 100%t

close to 100% (e.g. 95%) can widen the echo sound, while values expressin

2:8 (87.5%), 3:4 (75%), 2:3 (66%) or 1:2 (50%) create rhythmic grooves.

LEVEL 1, LEVEL 2 These set the output level of each of the playback he

FEEDBACK 1, FEEDBACK 2These set the amount from each playbac

recording head to create feedback or regeneration. Higher values will cre

over time. Because each head replays its own feedback signalsplusthose o


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The MOD page also contains the ducking controls. Ducking causes the wet lev

when the level of your playing goes above a set threshold. Then, when you play

volume increases so that the echoes fill the spaces.

DUCKER ATTENAttenuation sets the amount by which the effect voluof 20 dB, for example, will decrease the echoes by 20 dB when the input le

0.0 to defeat the ducker.

DUCKER THRSHLDSets the trigger level of the ducker. If the input sig

signal will be reduced by the amount set with the ATTENUATION control.

DUCKER REL TIMESets how long it takes for the delay signal to return

below the threshold. A short value here causes the ducked echoes to retur

stop playing. Longer times cause the levels to swell back more gradually.

Finally, the MOD page contains some other cool parameters.

EFFECTS GUIDE


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5.7 Drive [DRV]

The Driveblock replicates 29 different, classic stompbox effects, ranging from s

(ODor DRIVE) types are based on a cold-cathode tube model and give a waBOOST types dont distort much unless the drive is set quite high. BOOST types

useful for pushing an amp. Distortion types (DIST) are based on a variety of

give classic distortion tones. The fuzz (FUZZ) types are based on a hard-clippin

Drive effects include the basic controls you will find on their real world equivale

plus advanced controls like SLEW, BIAS, CLIP TYPE,and more, enabling you to cre

tone-shaping. Each Axe-Fx II preset can use two fully independent Driveblocks

Figure 5-12A stylized block diagram of the DRIVE blo


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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 sett

Bender Fuzz Based on the classic Tonebender circuit.

BB Pre Based on the Xotic Pedals BB Preamp.

Face Fuzz Based on Dallas Arbiter Fuzz Face.

Master Fuzz Based on the Maestro Fuzztone, aka Satisfaction fuzz.

Bit Crusher Based on a black box we found lying in the trash outside Studio H

Eternal Love Based on a LovepedalEternity.Esoteric ACB Based on the Xotic Pedals AC Booster.

Esoteric RCB Based on the Xotic Pedals RC Booster.

Zen Master Based on Hermida Zen Drive.Tube Drv 4-knob Based on the Chandler Tube Driver (4-knob version)

FAS LED-Drive Designed by Fractal Audio Systems based on LED clipping.

EFFECTS GUIDE


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BASS/TREBLEThese adjust the low-end and high-end of the built-in eq

MID, MID FREQSets mid-boost or cut (+/- 12 dB) and frequency for th

5.8

Effects Loop [FXL]

The Axe-Fx II has a full-stereo effects loop that can be used to insert outboard h

chain of a preset. Any signal at the input of the [FXL] block is passed to the phys

Axe-Fx II. Any signal received at the physical INPUT 2 (FX RETURN) appears at


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The FX Loopblock has a MIXpage with LEVEL, BALANCE,and BYPASS MODEpa

Parameterson p.116for more information.

Each Axe-Fx II preset can use one FX Loopblock.

5.9 Enhancer [ENH]

The Enhanceroffers two modes to increase spatialization or stereo separatio

Modern Enhancer Parameters

The Modern Enhancercreates a widening effect through frequency-based sepa

comparison to the Classic Enhancer, it does not introduce the risk of phase can

later summed to mono, and therefore poses less of a risk for use in presets.

WIDTH D i h h f h ff h i h b d f f

EFFECTS GUIDE


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5.10 Feedback Send [SND] & Return [RTN]

The Feedback Sendand Feedback Returnblocks allow you to route signal from

bending the rule that it must only flow from input to output. No connection wilbut signal nonetheless flows from the output of the SEND to the input of the RE

for either to function. The primary function of the Send and Return blocks is to

the feedback loop of a delay. The MIX of the delay in the loop is normally set to

recirculation results in instability.

Warning:Use caution with the Feedback blocks, as you can easily p

internal clipping and/or very high sound levels, which may damage

block MIXat 100%, set its LEVELcontrol to minus 80 dB and bring it squealing or other signs of instability, return the LEVELcontrol to minimum and

causes of instability. SeeUsing Send and Returnon p.171 for creative applicat


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PAN L, PAN RThese controls allow you to adjust the placement of the

stereo width adjustment or stereo-to-mono conversion.

BYPSets the bypass mode of the block. SeeCommon Mix Parameterso

5.12 Flanger [FLG]

The sound of a Flangercan range from

subtle chorusing, to swooshing jet plane, to

robotic drainpipe. The effect was intendedto duplicate the sweeping comb-filter

sound created when one of two tape decks

playing synchronized material is shifted out

EFFECTS GUIDE


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FDBKFeedback sets the amount of wet signal fed back to the input. Ext

intense quality as it produces sharp resonances in the frequency response.

wet signals are out of phase with the dry, creating sounds with a different

positive feedback.

Note that extreme feedback at minimum flanger DRIVEsettings will cause a

MIXSets the ratio of wet and dry (duplicated from the MIX page).

TEMPOLocks the flanger rate in rhythmic relation to the global tempo.

1/4and the global tempo is 120 BPM, the rate will automatically be set t

global tempo set the tempo control to NONE.

Advanced Parameters

THROUGH ZEROSetting this to ON adds a delay to the dry path equal


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Flanger Mix Parameters

The Flanger block also has a MIXpage with LEVEL, BALANCE,and BYPASS MOD

SeeCommon Mix Parameterson p.116for more information.

5.13 Formant [FRM]

Although the wah effect was originally intended to mimic

the sound of the human voice, it obviously falls a little

short in this regard. The talk-box, a system which playsguitar sounds through a tube into a real human mouth,

comes far closer to the sound of actual speech, but is

d bl ld h h d l h il

EFFECTS GUIDE


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5.14 Gate/Expander [GTE]

The downward Expandermodule is sort of a reverse compressor that increas

sounds and soft sounds by lowering the volume of soft sounds even further. Wincoming signals below a certain threshold, the expander is called a gate.

Gate/Expander X/Y Channel Switching

Each instance of the Gate/Expander block stores two fully independent sets of

between these allows you to change all block settingsinstantlyat the touch


Each Axe-Fx II preset can use two fully independent Gate/Expander blocks.

Figure 5-15The Gate/Expander Block


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5.15 Graphic Equalizer [GEQ]

The Graphic Equalizeris a multi-band equalizer capable of running in 5,7, 8, or

Each instance of the Graphic EQ block stores two fully independent sets of parabetween these allows you to change all block settingsinstantlyat the touch


Each Axe-Fx II preset can use four fully independent Graphic Equalizerblocks.

The TYPEdetermines the number of bands:

Band 1 Band 2 Band 3 Band 4 Band 5 Band 6 Band 7

10 Band 31 63 125 250 500 1000 2000 8 Band 80 160 320 640 1250 2500 5000

7 Band 100 200 400 800 1600 3200 6400

5 Band 80 240 750 2200 6600

EFFECTS GUIDE


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PLAYThis switch has two functions: use it to stop recording and begin p

playback that is already rolling. A momentary switch can be assigned to PLA

ONCEToggles auto-stop at loop-end, so that if playback is running, th

when it reaches the end of the loop. If playback is already stopped, ONCE wloop and then stop. You cannot go directly from RECORD to ONCE.

STACKOverdubs audio on an existing loop. Pressing it again stops the a

Existing audio is faded every time through the loop based on the setting of

Loopers MIX page.

UNDOThis removes the most recently recorded overdub. Undo remove

everything between when you pressed STACKto start overdub recording an

REVPressing this reverses the direction of the Looper. Playback and STA

HALFSlows the Loopers speed to half. Playback and normal or overdub


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Looper Trim Parameters

The"Trim" feature allows youto trim the start and end points of the loop.

or End and then turn the valuewheel to adjust the trim. Modifiers can be a

pressing when either is selected.

Looper Mix Parameters

The Looperhas a MIXpage with LEVEL, BALANCE,and BYPASS MODEparamet


5.17 Megatap Delay [MGT]

The Megatap Delayis a 2.5 second, 40-tap delay line with parametric control o

effect can be used to create interesting sonic patterns or to increase density

EFFECTS GUIDE


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UP / DOWNThe time between taps will increase and then

DOWN / UPThe time between taps will decrease and then

SINEThe time between taps will decrease and then increase

progression. Higher alpha increases the number of sine cycles

TIME ALPHASets the acceleration of the rate of time change across th

effect, while 100% results in an extreme effect.

Ex: Decreasing,Moderate Alpha

Ex: Decreasing,Higher Alpha


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BAL 1Sets the balance between left and right signals of the block in row

GAIN/BAL 2, 3, 4 These pairs of controls respectively set the level and

the blocks in rows 2, 3, and 4 of the column left of the mixer.

Page 2 Parameters

LEVELSets the level of the output mix.

OUTPUT MODESpecifies whether the outgoing mix should be stereo

Each Axe-Fx II preset can use two Mixerblocks. Note that on the Mark II, the m

5.19

Multiband Compressor [MBC]The Axe-Fx II contains a three-band compressor that is great for mastering or co

h i l idi i d d l l d d i l l

EFFECTS GUIDE


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RELRelease rate. Sets how long it takes for the level to return to normal

threshold. Slower times can cause the compressors gain reduction to rema

has given way to a quieter section.

LEVELSets the output level of the selected band.

DETDetermines whether the selected band will use RMS (Root Mean S

detection is smoother and is generally used to even out levels over a long p

commonly used with guitar, is useful for fast limiting.

MUTEMutes the output of the band. By muting two bands, you can sol

you can focus on its contribution to the overall mix.

5.20 Multi-Delay [MTD]


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MASTER FEEDBACKScales the feedback amounts of all taps or diffus

MASTER FREQScales the frequency values for the filters of all four tap

create dynamic filter effects by using a modifier to change this parameter i

values too high or too low, or the result will be difficult to hear.

MASTER PITCHScales the values for all shift parameters in the block.

MASTER DETUNEScales the values for all detune parameters in the b

MASTER QScales the Q values of all four taps from 0.110.0

MASTER RATEScales the rate of all LFOs in the block.

MASTER DEPTHScales all the depths of all LFOs in the block.

Mix Parameters

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TIME 1,2,3,4Sets the time when the selected tap will be heard, from 0

in parenthesis, it is being set automatically by the corresponding TEMPO pa

NONE for manual control.

LEVEL 1,2,3,4Sets the level at the output of the selected tap.

PAN 1,2,3,4Sets the pan for the selected tap in the stereo mix.

FEEDBACK 1,2,3,4Sets the level of the selected tap in the overall feed

the four feedback values cannot exceed 100%. Negative values phase inve

FREQ 1,2,3,4Sets the center frequency of the bandpass filter for the se

Q 1,2,3,4Sets the width of the bandpass filter for the selected tap. High

range of frequencies passing through.

DIFFUSION


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modulation, the result is a huge and lush-sounding space effect that can have q

all at once. The Plex Delayuses four delay lines.

Figure 5-19The Plex Delay Multi-Delay Type

EFFECTS GUIDE


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DUCKER REL TIMESets how long it takes for the delay signal to return

below the threshold. A short value here will cause the ducked echoes to re

stop playing. Longer times will cause the level to swell back gradually.

LFO 1 RATESets the rate of modulation. When RATE is shown in parentby the TEMPO parameter (see below). Set the TEMPOto NONE for manua

LFO 1 TEMPOSynchronizes the rate of the LFO in relation to the globa

LFO 1 DEPTH Sets the modulation depth. Increasing modulation adds a

Plex Detune5.20.3

The Plex Detuneis based on the Plex Delay (5.20.2above) but adds four high-q

+/- 50 cents to the output of the delay taps. Like the LFOs of the Plex Delay, the

effect tails rich with pitch variations With the following exceptions the Plex De


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audio. These are reversed (and possibly pitch-shifted) but are played back

recorded. The length of the snippets depends on the TIMEsetting of the ta

SHIFT 1,2,3,4This sets the amount of pitch shift applied at the output

semitones.

Band Delay5.20.5

The Band Delay, shown below, creates filter sweep echoes with a bandpass filte

parallel delay lines.

Figure 5-21The Band Delay Multi-Delay Type

EFFECTS GUIDE


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FDBK SENDSpecifies which delay output (14) should be tapped to fee

FDBK RETSpecifies which delay input (14) the feedback tap should be

FEEDBACKSets the amount of feedback from the send to the return.

Ten-Tap Delay5.20.7

The Ten-Tap Delayprovides a unique way to control the time, pan, and spacing

Instead of feedback, it uses an innovative DECAYcontrol to determine how the

time. The levels of individual delay taps can also be adjusted from -80 to +20 dB

change automatically as the taps progress.

MONO/STEREOSets the mode of the Ten-Tap Delay. In mono mode,

possible.


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Rhythm Tap Delay5.20.8

The Rhythm Tap Delayuses the same algorithm as the Ten-Tap Delay but allow

repeats. You can enter the rhythm in three ways:

1. By specifying milliseconds between each tap and the previous.

2. By specifying some number of quantized time units (divs) betwe

3. By tapping a rhythm with the button and the LEARNfuncti

The parameters for the Rhythm Tap Delay include those of the Ten-Tap Delay (

FEEDBACKSets the feedback level from the final repeat to the input of

conjunction with the decay to control the overall decay behavior. If you setmoderate value, the pattern will repeat, getting quieter each time through

QUANTIZE Quantizes the tap times to the entered note value This can

EFFECTS GUIDE


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Diffusor5.20.9

A diffuseruses feedback delays to increase density, smearing transients to cr

certain time and feedback settings, taps can be heard individually, but the diffu

blanket of sound. This algorithm chains four diffusors in series and controls theparameter.

MASTER FEEDBACKSets the feedback amount to determine density.

time settings, this determines the character of the effect and the amount o

LFO 1 RATESets the rate of modulation to add a chorus-like sound to t

LFO 1 TEMPOSynchronizes modulation to a rhythmic value in relation

LFO 1 DEPTH Sets the modulation depth to determine the intensity of

TEMPO 1 2 3 4 h d h h


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Figure 5-24The Pan/Tremolo Block

Parameters

EFF TYPEChooses between Tremolo and Panner.

EFFECTS GUIDE


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the change should affect neighboring frequencies. The bands include a selectab

and a selectable-type high filter. Select the desired band using the butto

required. A graphical display depicts the response, showing the effects of all fiv

Parametric EQ X/Y Channel Switching

Each instance of the PEQ block stores two fully independent sets of parameters

these allows you to change all block settingsinstantlyat the touch of a switc

Modifierassignments). SeeX/Y Switchingon p.36for more information.

Each Axe-Fx II preset can use four Parametric EQblocks.

ParametersFREQSets the center or cutoff frequency for the selected band.


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5.23 Phaser [PHA]

The Phase Shifter, or Phaser, works by cascading a series of all-pass filters and

with the input. This causes certain frequencies to be canceled or reinforced, cre

phase is shifted using a low-frequency oscillator (LFO), these peaks and notches

range to create the phasersdistinct, hollow, swooshing sound.

The phaser in the Axe-Fx II is extremely powerful. It allows two to 12 stages to b

negative feedback and a flexible, stereo LFO. It also offers a special mode to rec

astonishing accuracy.

Each Axe-Fx II preset can use two fully independent Phaserblocks.

EFFECTS GUIDE


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TONEA simple tone control for the Phaser effect (wet only).

FREQSets the start frequency of the first stage filter. This, in combinatio

the sweep range of the notches. This parameter is repeated as START FRE

(FREQUENCY is not used in the BARBERPOLE type.)

TEMPOSynchronizes the rate of the Phaser LFO in rhythmic relation to

the global tempo is 120 BPM, and TEMPOis set to a 1/4,the LFO rate wil

2). To ignore the global tempo set the tempo control to NONE. (Tempo is n

Advanced Parameters

(All BASIC controls of the Phaser except TYPEare duplicated on the ADVANCED

ORDERSets the number of phase shifting circuitsor stagesin incre

have distinctly different sound qualities For a more pronounced effect i


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5.24 Pitch Shifter [PIT]

Fractal Audios Intelligent Maximum-Likelihood Adaptive Real-Time (IMART) tec

polyphonic pitch shifting. Pitch shift technology creates an incredible range of e

based chorus to one-guitar orchestrations of complex harmony, to dive-bombin

The Axe-Fx II Pitch Shiftergives you all of these sounds and many more, with th

DetuneCreates chorus sounds with up to two detuned copies of the

Fixed HarmonyShifts two voices by a constant amount.

Intelligent HarmonyShifts two voices to another note in the selecte

Octave DividerSimulates the octave down effects of classic analog s

Classic WhammyShifts note(s) up and/or down 1-2 octaves with a cpedal or other controller.

Advanced WhammyExtends the Classic Whammy with custom rang

EFFECTS GUIDE


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Master Parameters

Several of the Pitch Shift types include MASTER parameters, detailed below.

MASTER PITCHScales the SHIFT setting for each of the voices. For exa

VOICE 2 SHIFTset to -12,and MASTER PITCHset to 50%,the shifts will be

MASTER DELAYScales all delay times in the block.

MASTER FEEDBACKScales all feedback controls in the block.

MASTER PANThe panning of each voice is multiplied by this value. A v

voice being panned as set in the individual pan controls. A value of 0% will

to center. A value of -100% will reverse the position of the voices. You can move the voices around the stereo field in real time.

AS L V L


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Detune5.24.1

The Detunesub-algorithm creates two voices that are detuned between -50 an

the input. This mode is useful for creating double-tracked sounds or chorus-like

Figure 5-27The Detune Pitch Shifter Type

EFFECTS GUIDE


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INPUT MODESpecifies whether the incoming signal should be process

diagram above) or summed to mono and then sent to both voices.

VOICE1 DETUNE, VOICE 2 DETUNESets the detune amount of the

VOICE1 SHIFT, VOICE2 SHIFTSets the shift amount of the voice in a

VOICE1 LEVEL, VOICE2 LEVELSets the volume level of the voice.

VOICE1 PAN, VOICE2 PANSets the panning of the voice.

VOICE1 DELAY, VOICE2 DELAYSets the delay time of the voice. W

parenthesis, it is being set automatically by a TEMPO parameter (see below

NONE for manual control.

VOICE1 DLYTEMPO, VOICE2 DLYTEMPOLocks the corresponding


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LEARNWhile learn is ON, the KEYparameter will automatically change t

Assign to a footswitch for modulations right in the middle of a phrase! Turn

harmonizer function.

SCALESets the scale or mode into which notes will be shifted.

TRACK MODESets how the harmony will track the input. SMOOTH allo

and vibrato in the input. STEPPED locks the harmony to the nearest chrom

GLIDE TIMESets the rate at which the harmony shifts from the one pit

played.

TRACKINGAllows fine-tuning the pitch shifter splice length. For large

improve the quality of the shifted note. TRACKING is the same as TRACK A

VOICE1 HARMONY, VOICE 2 HARMONY Sets the scale degree t

EFFECTS GUIDE


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NOTE 1,2,38These are the notes of your custom scale relative to the

scale degrees.

Scale Formulas

Here is a set of scale formulas for those scales used in the pitch shifters Intellig

modes. If scale names look slightly different from what youve learned, remem

does it take to name a Jazz scale? A: Well, lets see theres Bird, Yardbird, Zoize

Mouth, Dipper Mouth, Louisso thats TWO right there

SCALE TYPEDEGREES/FORMULA

1 2 3 4 5 6 7 8

IONIAN (MAJOR) 1 2 3 4 5 6 7

DORIAN 1 2 b3 4 5 6 b7PHRYGIAN 1 b2 b3 4 5 b6 b7LYDIAN 1 2 3 #4 5 6 7

MIXOLYDIAN 1 2 3 4 5 6 b7AEOLIAN (MINOR) 1 2 b3 4 5 b6 b7


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Classic Whammy5.24.4

The whammy, first introduced in 1991, is a relative newcomer to the field of gu

brings all of the expected sounds to the Axe-Fx II. Its CONTROL parameter is des

using a modifier (p.123), typically assigned to some source controlled by a pedWhammy (p.99)this type has only a few combinations of octave up/octave do

Parameters

MODESelects the Whammy mode:

UP 1 Octave

DOWN 1 octave

UP 2 Octaves DOWN 2 octaves

UP/DOWN 1 Octaves

EFFECTS GUIDE


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Crystals5.24.6

The CrystalsPitch Shifter is similar to the Fixed Harmonymode (p.93)but is de

features much longer possible splice times inside the shifter, reverse shifting,

architecture.

Figure 5-32The Crystals Pitch Shifter Type

F k f l i h C l l i h li i d il d b


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For sake of explanation, the Crystal algorithm splicing parameters detailed be

which they appear on the display of the Axe-Fx II.

VOICE1 SPLICE, VOICE2 SPLICEPitch shifting breaks a signal into pi

manipulated individually and then spliced back together. This parametermilliseconds.

VOICE1 SPLTEMPO, VOICE1 SPLTEMPOSets splice time in rhythm

DIRECTIONDetermines whether the processed granules are played ba

understand how reverse works, imagine a word whose individual letters ha

in the correct left-to-right order ( ). The length of the snippets dep

CROSSFADESets the amount of overlap in the audio granules. A low se

discrete, while a high setting will tend to blend splices together.

EFFECTS GUIDE

i2 8


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Arpeggiator5.24.8

The Arpeggiator uses a 32-step sequencer to control the shift amount of a harm

patterns can be created from a single note. Arpeggios intelligently transpose

you play different notes. So, in the key of C (Ionian) Major, the note C naturalbut the note D natural will arpeggiate as D-F-A (d minor).

Figure 5-34The Arpeggiator Pitch Shifter Type

STAGE 1 2 3 16 SHIFT k b d ll l d f


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STAGE 1, 2, 316 SHIFTTricky but ideally implemented for maximu

number of scale degrees that each note of the arpeggiator will be shifted a

Lets look at the example of a four-stage arpeggio with values of 0, 2, 4, an

comfort, with a scale type of IONIAN (MAJOR). When we play a C, the arpe

because:

C + 0 scale degrees = C

C + 2 scale degrees = E (CD,E)

C + 4 scale degrees = G (CD,E, F, G)

C + 7 scale degrees = C (CD,E, F, G, A, B, C)

Remember that the notes of the arpeggios and the steps required to

from the current key/scale. Scales with more or fewer than seven notes in tone, custom, etc.) can require some mental math, and its sometimes easi

Ti B h i h CHROMATIC l h i

EFFECTS GUIDE

5 25 Q d Ch [QCH]


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5.25Quad Chorus [QCH]

The Quad Choruswas designed to enable sounds beyond those of the legendar

80s session player clean sound. It takes time to set up, but your efforts will be r

liquid chorus sounds. It is a four-voice chorus with a powerfully complex modu

Each Axe-Fx II preset can use two fully independent Quad Chorusblocks.

Chorus Unit Parameters


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Chorus Unit Parameters

Each chorus unit has an identical set of parameters.

TIMESets the minimum time delay of the selected chorus voice. All mod

LEVELSets the output level of the selected chorus voice.

PANSets the panning of the selected chorus voice in the stereo field.

DEPTHSets the modulation depth for the selected chorus voices MORP

The depth of LFO 4 is set for all voices simultaneously via the MAIN DEPTHp

LFO MORPHThis parameter taps any one, or a blend of any two, of LF

modulation source for the current voice. The scale below shows how the p

the LFOs. A value of 0% taps only LFO1, while 75% would be an even blend

EFFECTS GUIDE

5 26 R t [RES]


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5.26 Resonator [RES]

The Resonatorconsists of four resonant comb filters in

parallel. By tuning the comb filters, a metallic or resonant

timbre can be achieved from normally non-musical signals.

The Resonator works best on transient signals like speech or

percussion but can also be used to add unique character to

musical inputs.

In series with each comb filter is a bandpass filter tuned to

the same frequency. These filters can be placed before or

after the comb filters. They are shown in the afterposition

in the diagram to the right.

E h A F II t t f ll i d d t R t bl k

FigSh

Resonator Mix Parameters


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Resonator Mix Parameters

The Resonatorblock has a MIXpage with MIX, LEVEL, BALANCE, BYPASS MODE,a

SeeCommon Mix Parameterson p.116for more details on these.

5.27

Reverb [REV]

Aside from distortion, no effect has been more important to the electric guitar

guitar amplification, guitarists in small spaces yearned for the sounds their amp

Early simulators incorporated metal springs and plates, but as with delay proce

truly revolutionized by digital technology. The Axe-Fx II is one of the finest you

lush, and dense, with the ability to emulate real spaces, vintage springs, classic

Each Axe-Fx II preset can use two fully independent Reverbblocks.

EFFECTS GUIDE

TIME Sets the decay time This is the amount of time it takes for the rev


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TIMESets the decay time. This is the amount of time it takes for the rev

perception. This is also known as the t60time, referring to the amount o

decay to 0.001 of its initial value (-60 dB).

INPUT GAINSets input level into the reverb. Primarily for use with a pe

Send to the reverb (allowing reverbto ring out even after the pedal is pu

should normally be set to 100%.

MIX and LEVELare duplicated from the MIX page.

Advanced Parameters

TYPE, TIMEDuplicated from the BASIC page (p.105).

SIZESets the size of the space or spring. This controls the length of time

between virtual surfaces. Higher settings increase the echo time and the d

MOD DEPTH MOD RATE These parameters controls modulation in


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MOD DEPTH, MOD RATE These parameters controls modulation in

similar to chorusing. Modulation helps fill out the soundstage and makes th

pitched instruments like drums, modulation may be undesirable. (Set dept

modulation, turn the mix to max, adjust depth and rate, and then re-set th

MIC SPACINGSets the stereo width of early reflections by simulating m

STEREO WIDTHDetermines the overall stereo separation of the rever

NUMBER SPRINGSWhen the TYPEis set to SPRING,this sets the nu

SPRING TONEWhen the TYPEis set to SPRING,this changes the char

aspects of the simulation. Lower values create a darker tone.

SPRING DRIVEThis simulates overdriving the circuit of the reverb whe

Reverb EQ Parameters

EFFECTS GUIDE

Parameters


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Parameters

FREQSets the frequency of the oscillator.

FMULTSets the frequency multiplier for the oscillator. The actual oscilla

multiplied by the FMULTvalue.

TRACKWhen this is set to ON,the frequency of the oscillator tracks t

is then the pitch multiplied by the FMULT value.

HICUTSets the cutoff frequency of a low-pass filter on the output.

Ring Modulator Mix Parameters

The Ring Modulator blockhas a MIXpage with MIX, LEVEL, BALANCE, BYPASS MO


ROTOR LENGTH This parameter adjusts the length of the virtual high-


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ROTOR LENGTH This parameter adjusts the length of the virtual high

increase the amount of Doppler shift and result in a more intense effect.

LOW RATE MULTIPLIERAdjusts the speed of drum rotation compare

at the value set for TEMPO, above).

LOW TIME CONSTANT, HI TIME CONSTANT Sets acceleration/de

LF MIC SPACING, HF MIC SPACING These sets the placement of t

determining the stereo width of the effect. Setting LF to zero (default) simu

drum.

DRIVEGive your virtual rotary speaker the grind of the classic power am

The Rotary Speaker has MIX, LEVEL, BALANCE,and BYPASS MODE controls. SeeCo

EFFECTS GUIDE

LEVEL Controls the output level of the oscillator.


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LEVEL Controls the output level of the oscillator.

PANControls the panning of the oscillator.

FILTERSets the cutoff frequency of a low-pass filter after the oscillator.

QSets the Q or resonance of the post-oscillator filter.

ATTACKSets the attack time of the envelope follower on the input.

Synth Mix Parameters

The Synth block has a MIXpage with MIX, LEVEL, BALANCE, BYPASS MODE,and G


AVG TIMEDetermines how long of a time window is used when analyz


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g y

AMOUNTScales the Tone Match effect from full to flat, determining th

MODESelects between OFFLINE and LIVE modes. Use LIVE mode when

REFERENCE amps at the same time.

SMOOTHINGThis reduces the prevalence of peaks and valleys in the I

RESOLUTIONNormally, you'll run this in HIGH mode. To save CPU, cha

50% of the match resolution but can still sound great.

Tone Matching Mix Parameters

The PROCESS pagealsohas LEVEL, BALANCE,and BYPASS MODEparameters.


EFFECTS GUIDE

HPMIXSets the amount of high-pass filtered signal to mix in with the sy


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g p g y

increase the intelligibility of the vocoding by allowing certain consonants a

ATTSets attack filter time for the envelope followers.

RELSets release filter time for the envelope followers.

FREEZETurning this to ON freezes the output of the envelope followers

formant.

MASTER LEVELSets the master level for all the synthesis filter outputs

MASTERPANSets master panning for all the synthesis filter outputs. I

levels and panning is provided on dedicated menu pages. You can use thesbank response and control the panning of the filter outputs.

LEVEL 1 16

LEVELSets the output level of the block independent of the setting for t


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5.34 Wahwah [WAH]

From Jimi Hendrix's Voodoo Chileto, well, Stevie Ray Vaughan's Voodoo Chiplace in the annals of rock history. The Axe-Fx II Wahwahis the embodiment of

reliability and control and a smoooothfeel.

A wah is actually a very straightforward device. The signal is passed through a r

controlled by a pedal. The Wahwah may be placed before distortion for a subtl

for a more prominent and aggressive sound.

The wah is stereo-in/stereo-out.

Each Axe-Fx II preset can use two fully independent Wahwah blocks.

EFFECTS GUIDE

TRACKSets the Qtracking of the filter. As the frequency is increased,


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an amount proportional to this value. If this is zero, the resonance of the fi

frequencies. Classic wah pedals usually have a resonance that decreases w

limitations. This control can be used to mimic those pedals.

CONTROLSets the position of the wah. Normally you would use a MOD

real-time control, but simply dialing it in will give you a parked wah soun

5.35 Input Noise Gate

Every Axe-Fx II preset includes a built-in Noise Gateconnected directly to the

parameters, press and turn to the INPUT/GTE page.

The Noise Gate is always active but can be defeated by turning the THRESH cont

your guitar. This recreates the way that some classic effects (e.g. Vibe) load do


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in frequency response. The Axe-Fx II recreates this effect by switching various (

out of the signal path.

In Automode, the impedance is automatically set based on the first active effe

Normally you will want to leave this on AUTO, but you may also select any of th

setting is saved with the preset.

1M

1M+ Capacitor

230k

230 k+ Capacitor

90 k 90 k+ Capacitor

70 k

70 k+

32 k

32 k+

22 k 22 k+

EFFECTS GUIDE

5.37 Common Mix Parameters


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Almost every block in the Axe-Fx II has a MIXpage with parameters to determi

contributes to the overall preset sign

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