Fractal Axe-Fx-II XL Owner's Manual
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Fractal Axe-Fx-II XL Owner's Manual

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  • Page 3: Legal Notices

    Fractal Audio Systems Axe-Fx II Owner’s Manual. Contents Copyright © 2011 -2014. 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, G3 Modeling Technology (“G3”), Humbuster, Multipoint Iterative Matching and Impedance Correction (“MIMIC”), UltraRes, Virtual Vacuum Tube (“VVT”), and Quantum and are trademarks of...

  • Page 4: Certificate Of Conformity

    Zappa, Adrian Belew, Steve Vai, John Petrucci, the Edge, Neal Schon, Periphery, Animals As Leaders, Metallica, 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. Many thanks to our team of dedicated beta-testers, preset creators, copy-editors and proofreaders.
  • Page 5 Quantum firmware series, every Axe-Fx II sounds equally great (and better than ever!) with accurate amp models, masterfully created virtual speaker cabs, and effects that truly stand apart. We thank you all for your many contributions, and for choosing Fractal Audio Systems! —Fractal Audio Systems, January 2017 Doc Q7.0...

  • Page 6: Table Of Contents

    Minimum Requirements ........................12 2.3.2 Software Installation ..........................12 2.3.3 Capabilities ............................13 2.3.4 Fractal-Bot ............................14 2.3.5 Axe-Edit ..............................14 3 Connections ................15 3.1 Setting Levels ..................15 3.2 The PEDAL Jack(s)................... 16 3.3 System Parameters ................16 3.4 Connection Diagrams ................
  • Page 7 TABLE OF CONTENTS 3.4.11 Axe-Fx II XL/XL+ & MFC-101 Mark III: One Possible “Big Rig” .............. 26 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 ..............................
  • Page 8 TABLE OF CONTENTS 5.6.3 Dual Delay ............................63 5.6.4 Ping-Pong Delay ........................... 64 5.6.5 Sweep Delay............................64 5.6.6 Reverse Delay ............................64 5.6.7 Tape Delay ............................65 5.6.8 Delay Common Parameters ......................... 66 5.7 Drive [DRV] .................... 68 5.8 Effects Loop [FXL] ................... 70 5.9 Enhancer [ENH] ..................
  • Page 9 TABLE OF CONTENTS 5.24 Pitch Shifter [PIT] ................100 5.24.1 Detune ............................... 102 5.24.2 Fixed Harmony ........................... 103 5.24.3 Intelligent Harmony ........................... 104 5.24.4 Classic Whammy ..........................106 5.24.5 Octave Divider ........................... 106 5.24.6 Crystals ............................... 107 5.24.7 Advanced Whammy ........................... 108 5.24.8 Arpeggiator ............................
  • Page 10 TABLE OF CONTENTS 7.1 Introduction ..................136 7.2 Creating a Modifier ................136 7.2.1 Transformations ..........................138 7.2.2 Scale and Offset ..........................139 7.2.3 Damping ............................. 140 7.2.4 Auto Engage ............................140 7.2.5 Program Change Reset ........................141 7.3 Control Sources ..................141 7.3.1 LFO1 &...
  • Page 11 TABLE OF CONTENTS 10.5 Reset System ..................156 10.6 IR Capture ..................156 10.7 Firmware ................... 156 11 Tuner ..................157 12 Tempo ..................158 12.1 Setting the Tempo ................158 12.2 Synchronizing Sound Parameters ............158 12.3 Tempo to Use ..................159 12.4 Auto Delay ..................
  • Page 12 TABLE OF CONTENTS 16.11 Humbuster™ Technology ..............178 16.12 Setting up a Wah Pedal ..............179 16.12.1 Using the Onboard Pedal Jack ....................... 179 16.12.2 Using an Expression Pedal on an MFC-101 ..................180 16.13 Setting Up Spillover ................ 181 16.13.1 Within a Single Preset ........................

  • Page 13: What's New

    WHAT’S NEW What’s New Years of R&D at Fractal Audio Systems have yielded our next-generation product, the Axe-Fx II. With twice the power of our former flagship the Ultra, the Axe-Fx II unveils new state-of-the-art algorithms and an innovative array of great hardware and software features and improvements. This all-in-one preamp/effects processor recreates complete signal chains—stompboxes, amps, cabs, mics, studio effects, and more—with unprecedented...
  • Page 14 WHAT’S NEW Easier-to-Use Front Panel Features A new, custom-designed 160x80 backlit LCD provides improved readability and more spacious screen layouts. In addition to the main VALUE knob, new QUICK CONTROL knobs provide hands-on access to four additional on- screen parameters. Many block types including Amp, Cab, Chorus, Drive, Delay, Flanger, Phaser, Pitch, Reverb, and Wahwah—are now equipped with two fully independent parameter sets called “X”...
  • Page 15 WHAT’S NEW New FX Processing Features and Enhancements The effects-processing capabilities of the Axe-Fx II have been vetted and endorsed by some of the most discriminating players in the world. The sound and features of our effects provide extremely authentic representations of many classic originals, plus the range to take you where no tone has gone before.

  • Page 16: Introduction

    You are not alone in the quest for tone, either. The Fractal Audio online community has amassed a wealth of knowledge and is ready to share expertise on every subject, from the deviling details of differently dated diodes in dilapidated distortions to how to set up your favorite artist’s “exact gear used in the exact order with the exact...
  • Page 17 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 power and many more capabilities than the former heavyweight champion, Axe-Fx Ultra—twice the DSP in fact, allowing it to deliver far more detailed amp modeling, plus numerous other upgrades.

  • Page 18: The Inventory/Grid Concept

    INTRODUCTION The Inventory/Grid Concept In the real world, we are limited by the equipment we own and by the fact that building a rig requires making commitments. On the Axe-Fx II, these limitations are lifted, with the ability to tap a vast inventory of virtual amps, cabs, effects, mixers, and more.

  • Page 19: Connectivity And More

    INTRODUCTION The subject of creating and modifying presets on the grid is covered in detail in section 4: Basic Operation and Editing (p.27). The inventory of blocks available to every Axe-Fx II preset is listed below: Amp (×2) Filter (×4) Mixer (×2) Reverb (×2) Cab (×2)

  • Page 20: Overview

    OVERVIEW 2 Overview Review the following to familiarize yourself with the hardware features of the Axe-Fx II. The Front Panel The front panel shown is that of the Axe-Fx II XL. It is functionally identical to that of the Axe-Fx II Mark II. Figure 2-1 –...
  • Page 21 OVERVIEW  INPUT/GTE contains parameters for the Noise Gate and Instrument input impedance (p. 125).  OUTPUT page contains a mixer for overall level control of a preset (p. 128).  – Select any block on the layout grid and press this button to open its EDIT menu. Press repeatedly to cycle through EDIT menus of all blocks in the preset (top-to-bottom, left-to-right).

  • Page 22: The Rear Panel

    OVERVIEW The Rear Panel The following section details the rear panel of the Axe-Fx II. Please note differences between the Mark II and XL models in numbered areas 22 (MIDI), 24 (MFC and FASLINK™) and 25 (PEDALS). Figure 2-2 The Rear Panel of the Axe-Fx II XL+ Figure 2-3 The Rear Panel of the Axe-Fx II Mark II Left/Mono and Right, Balanced (1/4”...
  • Page 23 Control Port – This RJ45 jack allows you to use a standard (non-crossover) CAT5/Ethernet cable to connect the Axe-Fx II to a Fractal Audio Systems MFC-101 MIDI Foot Controller. The cable used to connect the Axe-Fx II and MFC-101 carries two-way data communication and phantom power without needing an external “wall wart”...

  • Page 24: Computer Integration

     Memory: 1GB minimum  USB 2.0 support required Mac Minimum Requirements:  OS X: 10.6.8 for MIDI over USB (Fractal-Bot, Axe-Edit, Cab-Lab, etc.) 10.9 or later required for USB audio. An issue in older versions causes audio pops.  CPU: Intel Processor ...

  • Page 25: Capabilities

    OVERVIEW 2.3.3 Capabilities The USB 2.0 class-compliant driver provides two channels of 48k/24-bit audio from the computer to the Axe-Fx II, up to four channels from the Axe-Fx II to the computer, and two-way MIDI-over-USB. All features can be used simultaneously.

  • Page 26: Fractal-Bot

    2.3.4 Fractal-Bot Fractal-Bot, available from http://www.fractalaudio.com/fractal-bot.php is a powerful, lightweight MIDI Utility for the Axe-Fx II. Use Fractal-Bot for firmware updates, backing up your Axe-Fx, restoring backups, managing User Cabs, and more. 2.3.5 Axe-Edit Axe-Edit is a full-featured software editor for the Axe-Fx II. It provides a large, easy-to-use graphical interface that allows you to create and edit sounds.

  • Page 27: Connections

    CONNECTIONS 3 Connections Before making connections, be sure to turn down the volume of your amps and switch off all power. Take extreme care NEVER to connect the SPEAKER outputs of an amplifier to any jack on the Axe-Fx II as this will damage one or both devices.

  • Page 28: The Pedal Jack(S)

    CONNECTIONS The PEDAL Jack(s) Note: the Axe-Fx II XL+ and XL have two onboard jacks. The Axe-Fx II original and Mark II models have one. Connect an expression pedal or footswitch to the pedal jack to control sound functions. You must first configure and perform a simple calibration routine when using an expression pedal.

  • Page 29: Connection Diagrams

    CONNECTIONS Connection Diagrams This overview will help familiarize you with the various inputs, outputs, and control connections of the Axe-Fx II. The diagrams that follow in sections 3.4.1 through 3.4.10 illustrate several real-world applications. Note that the Axe-Fx II Mark II has a shared MIDI OUT/THRU, and that MIDI THRU must be enabled in the I/O:MIDI menu.

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

    CONNECTIONS 3.4.1 Axe-Fx II into Self-Powered Full-Range Speakers COMPONENTS:  Guitar  Axe-Fx II  Self-Powered Full Range Speaker(s)  Headphones (opt.) Global Settings: Default I/O Settings: Default Notes: With its built-in amp and speaker simulations, the Axe-Fx II can be played directly into P.A. or other self- amplified, full-range, flat-response (FRFR) speakers.

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

    CONNECTIONS 3.4.3 Axe-Fx II with Power Amp and Guitar Speakers COMPONENTS:  Guitar  Axe-Fx II  Power Amp and Guitar Speakers -OR- Amp Head/Combo with FX RETURN jack (power amp input) and Guitar Speakers Global Settings: Power Amp Simulation ON or OFF (see below), Speaker Cabinet Simulation OFF I/O Settings: Set (p.148) as required for stereo or mono.

  • Page 32: Axe-Fx Ii Effects Loop

    CONNECTIONS 3.4.4 Axe-Fx II Effects Loop 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 Notes: The Axe-Fx II has a stereo FX Loop that allows you to insert outboard gear such as preamps or processors at almost any point in the signal chain of any preset.

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

    CONNECTIONS 3.4.6 Axe-Fx II Four Cable Method (“4CM”) COMPONENTS:  Guitar  Axe-Fx II  Guitar Amp with a series effects loop and built-in or separate Guitar Speaker(s).  Second Amp for Stereo (opt.) Global Settings: Defaults OK, since typical 4CM presets will not have AMP or CAB blocks! I/O Settings: Set as required for stereo or mono (Remember: even in a stereo rig, when INPUT...

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

    CONNECTIONS 3.4.7 Direct to FOH plus Real Amps on Stage COMPONENTS:  Guitar  Axe-Fx II  Guitar Amp with Guitar Speaker  Front-of-House P.A. 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.

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

    CONNECTIONS 3.4.8 Axe-Fx II as Effects Processor Only (with Guitar Amps) COMPONENTS:  Guitar  Axe-Fx II  Guitar Amplifier with built-in or separate speaker cabinet Global Settings: Defaults OK, since special presets required should not have AMP or CAB blocks! I/O Settings: Change to “REAR”...

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

    CONNECTIONS 3.4.9 Axe-Fx II as a Computer Audio Interface COMPONENTS:  Guitar  Axe-Fx II  Computer meeting minimum requirements  Powered Monitors  Headphones (opt.) Global Settings: Default I/O Settings: See below Notes: The Axe-Fx II offers great features when connected via USB to a computer. Pair this system with headphones, studio monitors, or any other full-range listening system.

  • Page 37: Axe-Fx Ii Xl/Xl+ And Mfc-101 Mark Iii

    Notes: The Axe-Fx II XL/XL+ provides a significant advantage over its predecessors in that it can be connected directly to the Fractal Audio MFC-101 Mark III MIDI foot controller via FASLINK™. FASLINK™ offers several advantages over traditional MIDI or Ethernet/EtherCON connections. A standard XLR cable—easy-to-find and built to withstand abuse on stage—carries bidirectional communications to support an MFC-101 running in “Axe-Fx...

  • Page 38: Axe-Fx Ii Xl/Xl+ & Mfc-101 Mark Iii: One Possible "Big Rig

    CONNECTIONS 3.4.11 Axe-Fx II XL/XL+ & MFC-101 Mark III: One Possible “Big Rig” Here the Axe-Fx II XL/XL+ 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 through the speakers you’ll perform with.

  • Page 39: Basic Operation And Editing

    BASIC OPERATION AND EDITING 4 Basic Operation and Editing Once you have set up your Axe-Fx II with speakers/amps/monitors or a pair of headphones, you can begin to audition the factory preset sounds and learn to make changes by following this detailed guide to basic operation. For a super-condensed version, see the 60-Second Edit Guide on p.

  • Page 40: The Grid

    BASIC OPERATION AND EDITING The Grid The grid, located on the EDIT page of the LAYOUT menu, is a 12 × 4 “matrix” where 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 of the 12 × 4 grid at any one time, with the ability to scroll to off-screen areas using the buttons.

  • Page 41: Shunts

    BASIC OPERATION AND EDITING The total number of blocks you can insert in any one preset is dictated by the fact that CPU utilization must not exceed around 94%. Each block has a “cost,” and when the sum of all blocks reaches the limit, a warning message prevents you from adding additional blocks.

  • Page 42: Connector Cables

    BASIC OPERATION AND EDITING 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 displayed in a popup, and the selected grid space will flash if not hidden.
  • Page 43 BASIC OPERATION AND EDITING The Rules of Axe-Fx II Cables  No cables = No sound. Even one missing link will break the entire chain.  Signal always flows from LEFT to RIGHT.  A cable MUST originate from a BLOCK or a SHUNT. Empty locations are not viable origins. ...

  • Page 44: Moving Blocks On The Grid

    BASIC OPERATION AND EDITING  Use the UP or DOWN buttons to select the “other end” of the cable you wish to remove.  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 automatic shunts and cables. This technique is especially useful when you have placed your last effect block and need to wire it to the output or if you want to fill an empty row with shunts.

  • Page 45: Example Presets On The Grid

    BASIC OPERATION AND EDITING 4.2.5 Example Presets on the Grid Four sample presets are shown below as visualized in Axe-Edit, the companion software editor to the Axe-Fx II. Review the diagrams to get a sense of how presets are constructed and how they appear on the grid. EXAMPLE 1: Simple Amp Tone –...
  • Page 46 Fractal Audio community. Visit forum.fractalaudio.com and join the discussion. You can download additional presets for your Fractal Audio products at http://axechange.fractalaudio.com Doc Q7.0...

  • Page 47: Editing Sounds

    BASIC OPERATION AND EDITING Editing Sounds The blocks of the Axe-Fx II represent diverse types of real-world equipment. In the same way that such hardware devices are equipped with different controls, blocks also typically have many adjustable settings called parameters. Parameter settings determine precisely how an effect will sound. These are arranged on PAGES in the display of the Axe-Fx II.

  • Page 48: Quick Control

    BASIC OPERATION AND EDITING 4.3.1 Quick Control The functions of the knobs depend on which Axe-Fx II menu or function is selected.  In the main screen, the A knob selects SCENES. See section 16.15 on p. 184.  In every EDIT menu , A, B, C and D are dynamically mapped to four on-screen parameters for easy editing of multiple controls without the keys.

  • Page 49: X/Y Quick Jump

    BASIC OPERATION AND EDITING X-Y / Y-X Copying You can copy all of the settings from X to Y, or Y to X, by double tapping the button for the one you want to copy to, and then pressing to confirm. So, to copy X to Y, double-tap and then press .

  • Page 50: Saving Changes

    BASIC OPERATION AND EDITING Saving Changes After making various changes, you will undoubtedly want to save the results of your edits. To store a sound in place, without changing its name or location…  Press to show the STORE screen. ...

  • Page 51: Effects Guide

    EFFECTS GUIDE 5 Effects Guide The Axe-Fx II offers 34 different basic block types that can be combined freely up to the limit of available DSP resources to create your own presets. An alphabetical listing of block types follows. Amplifier [AMP] The Amp block reproduces the sounds of an impressive array of vintage and modern guitar and bass amplifiers, with 256+ different “types”...

  • Page 52: Amp Preamp Page ("Pre")

    EFFECTS GUIDE 5.1.2 Amp Preamp Page (“PRE”) INPUT DRIVE – (aka “Drive”) sets the amount of preamp gain/distortion. Used in conjunction with the MASTER (see below), INPUT DRIVE determines whether the sound will be clean, slightly broken up, moderately overdriven, or completely distorted. Our modeling faithfully reproduces the sound of the treble peaker circuit on the control found on INPUT DRIVE...

  • Page 53: Amp Power Amp Page ("Pwr")

    EFFECTS GUIDE apply circuit values suited to an amp of that general type. If the amp has a hard-wired treble peaker, the default state is ON. BRIGHT To turn the Bright, Fat, or Cut switches ON or OFF, use the keys to select the knob above them and press .

  • Page 54: Amp Speaker Page ("Spkr")

    EFFECTS GUIDE NEG FDBK – This controls the amount of negative feedback, or damping, in the power amp simulation. Higher values give a tighter and brighter sound but can sound harsh at very high master volume levels. Lower values give a loose and gritty sound and feel. Like many other power amp parameters, NEGATIVE FEEDBACK set to an appropriate value whenever you change the amp , but it can then be changed as desired.

  • Page 55: Power Amp Dynamics Page ("Pwr Dyn")

    EFFECTS GUIDE SLOPE – This parameter allows fine adjustment of the high-frequency impedance of the virtual voice coil (which affects the slope of the impedance curve). A speaker voice coil is “semi-inductive” due to eddy current losses in the motor. This presents an impedance to the power amp that is neither fully inductive nor fully resistive.

  • Page 56: Amp Preamp Dynamics Page ("Pre Dyn")

    EFFECTS GUIDE XFRMR MATCH – Transformer Match is an extremely powerful parameter that sets the relative output transformer primary impedance to determine how easily the power tubes are driven into clipping. Higher Volume settings result in a more pronounced effect. Increasing causes power tubes to MASTER XFRMR MATCH...

  • Page 57: Amp Dynamic Eq Page ("Dyneq")

    EFFECTS GUIDE PREAMP BIAS – Sets the bias point of the last triode (not counting the cathode follower). Depending on the bias points of the previous stages, increasing or decreasing this value can alter both harmonic content and attack characteristics. Typically, if the previous stage has a bias then increasing this value will be more noticeable (and vice-versa).

  • Page 58: Amp Advanced Page ("Adv")

    EFFECTS GUIDE 5.1.8 Amp Advanced Page (“ADV”) INPUT SELECT – The AMP block processes audio in mono. This control determines how incoming stereo signals will be processed. You can input only LEFT or RIGHT channels, or SUM L+R (the default setting). MODELING VERSION –...
  • Page 59 EFFECTS GUIDE TONESTACK TYPE – The controls operate by default as “passive” controls. That is, BASS TREBLE they simulate exactly the frequency and phase response of the classic passive tonestacks found in the original amplifiers our simulations are based on. The control lets you change this behavior from TONESTACK TYPE PASSIVE to ACTIVE, or to substitute the passive tonestack of another amp type.
  • Page 60 EFFECTS GUIDE BIAS EXCURSION – The higher this value, the more the bias shifts when the virtual power tubes are overdriven. Bias excursion pushes a power amp from Class-AB operation towards Class-B operation, which can result in crossover distortion. A little goes a long way, but too much can lead to what is referred to as “blocking distortion”...
  • Page 61 EFFECTS GUIDE CF TIME, CF RATIO – These parameters determine the attack time and ratio used for CF (Preamp) Comp. CF HARDNESS – The Quantum firmware series improved modeling for tubes driving cathode followers. In models that use cathode followers, this results in warmer distortion with smoother decay. Set the shape of cathode follower distortion using this parameter.

  • Page 62: Cabinet [Cab]

    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 63 – Offers “HI-/ULTRA-RES,” “STEREO ULTRA-RES” “NORMAL RES” and “STEREO” (normal res) modes. Fractal Audio Systems Cab IRs come in two different formats: Standard Res, and UltraRes™. UltraRes IRs use a patent-pending proprietary technology to deliver enhanced sonic resolution without high latency or CPU load.
  • Page 64 EFFECTS GUIDE DEPHASE – This parameter controls a sophisticated process that removes the “phasiness” from IRs and can yield a more “amp in the room” experience. LOW-CUT/HI-CUT/FILTER SLOPE – Adjusts the cutoff points of high-pass and low-pass filters. Increase the low-cut to reduce bass boom. Decrease the high-cut to darken the tone. Slope allows you to select between first-order (6 dB/octave) or second-order (12 dB/octave) filters.

  • Page 65: User Cabs

    Here’s how it works: first, you need an IR file. An great source for free IRs is http://axechange.fractalaudio.com, our online repository of presets and cabs. Fractal Audio Systems also offers professionally produced Cab Packs at http://shop.fractalaudio.com. Next, you’ll need to transmit your IR to the Axe-Fx II. Our various software applications are ideal: Fractal-Bot, Cab-Lab, and Axe-Edit.

  • Page 66: Chorus [Cho]

    EFFECTS GUIDE Chorus [CHO] A chorus unit creates one or more delayed copies of the input signal and modulates each of these to create the layered effect of different voices. Used subtly, the effect can be ambient and liquid, while more extreme settings can produce a vibrato or “Leslie”...
  • Page 67 EFFECTS GUIDE Advanced Chorus Parameters DELAY TIME – Adjusts the minimum delay time from 0.0–50.0 ms. Lower values create a more unified sound while higher values go beyond double tracking towards “slap back.” LOW CUT – Adjusts the cutoff frequency of a high-pass filter at the output of the processed signal. This control removes bass frequencies and can be useful to create chorus effects designed for bass guitar.

  • Page 68: Compressor [Cmp]

    EFFECTS GUIDE Compressor [CMP] A compressor reduces the difference between loud and soft sounds by reducing the level of—or compressing— loud signals. The reduction is triggered when the input signal exceeds a set threshold. While a compressor reduces the volume of loud sections, it can simultaneously boost overall level for greater perceived sustain. 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).
  • Page 69 EFFECTS GUIDE AUTO – Turns the Dynamic Attack filter on or off. Turning this switch ON automatically varies the ATTACK rate according to the program material; the compressor will respond to faster transients with a faster attack. 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.
  • Page 70 EFFECTS GUIDE MAKEUP – Automatic Makeup gain, when turned ON, compensates the output level to maintain perceived loudness at the current threshold and ratio. The LEVEL control can then be used for fine control. DETECT – Selects whether the compressor will use RMS (“Root Mean Square”), FAST RMS (mimicking classic rack-mount compressors), PEAK detection, or RMS + PEAK detection.

  • Page 71: Crossover [Xvr]

    EFFECTS GUIDE 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. Each Axe-Fx II preset can use two fully independent Crossover blocks.

  • Page 72: Delay [Dly]

    EFFECTS GUIDE 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 73: Mono Delay

    EFFECTS GUIDE INPUT GAIN – Sets the input level into the delay lines. This lets you to attach a controller (e.g. pedal) to the delay level input level for operation similar to that of an “Aux Send.” In other situations this control should be set at 100%.

  • Page 74: Stereo Delay

    EFFECTS GUIDE RIGHT POST DELAY – Widens echo sounds by adding 0–100 milliseconds of delay at the right (wet) output. Please be aware that because the MONO delay contains only one delay line, the two parameters on its LFO PHASE MOD page have no effect.

  • Page 75: 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 76: 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 77: 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 78: Delay Common Parameters

    EFFECTS GUIDE HEAD 1 TIME – Sets the distance between the virtual record and play heads, in milliseconds. Note that time heard will be shorter if MOTOR SPEED is increased above 1.0, or longer if below 1.0. HEAD 1 TEMPO –...
  • Page 79 EFFECTS GUIDE The MOD page also contains the ducking controls. Ducking causes the “wet” level to be lowered automatically when the level of your playing goes above a set threshold. Then, when you play more quietly or pause, the effect volume increases so that the echoes fill the spaces.

  • Page 80: Drive [Drv]

    EFFECTS GUIDE Drive [DRV] The Drive block replicates 29 different, classic stompbox effects, ranging from sublime to intense. The overdrive (“OD” or “DRIVE”) types are based on a cold-cathode tube model and give a warm, mellow overdrive tone. The BOOST types don’t distort much unless the drive is set quite high. BOOST types are primarily tone-shaping devices useful for “pushing”...
  • Page 81 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 82: Effects Loop [Fxl]

    EFFECTS GUIDE LOW CUT – Controls the frequency of the input high-pass filter. Increase to prevent "flubby" distortion. HIGH CUT – Controls the frequency of the output low-pass filter. Lower this for a darker sound. CLIP TYPE – Controls the type of clipping circuit used, based on accurate models of analog components: ...
  • Page 83 EFFECTS GUIDE Figure 5-13 – Effects Loop Routing The Effects Loop block is frequently used to insert the preamp section of a head or combo. The main output of the Axe-Fx is then routed to the effect loop input of the real amp. See the diagram on p. 21 for more on “the four cable method”...

  • Page 84: Enhancer [Enh]

    EFFECTS GUIDE Enhancer [ENH] The Enhancer offers two modes to increase “spatialization” or stereo separation of a signal. Modern Enhancer Parameters The Modern Enhancer creates a widening effect through frequency-based separation of left and right channels. In comparison to the Classic Enhancer, it does not introduce the risk of phase cancellation issues when the signal is later summed to mono, and therefore poses less of a risk for use in presets.

  • Page 85: Feedback Send [Snd] & Return [Rtn]

    EFFECTS GUIDE 5.10 Feedback Send [SND] & Return [RTN] The Feedback Send and Feedback Return blocks allow you to route signal from any point to any other point, bending the rule that it must only flow from input to output. No connection will be visible between the two blocks, but signal nonetheless flows from the output of the SEND to the input of the RETURN.

  • Page 86: Filter [Flt]

    EFFECTS GUIDE 5.11 Filter [FLT] The stereo Filter block can be used for simple or spectacular sound shaping. It allows a variety of different effects with real-time control of useful parameters. It can also be used as a “boost” by setting the to NULL or as a TYPE treble (or mid) booster with greater programmability than the ones in the DRIVE block.

  • Page 87: Flanger [Flg]

    EFFECTS GUIDE 5.12 Flanger [FLG] The sound of a Flanger can range from subtle chorusing, to swooshing jet plane, to robotic drainpipe. The effect was intended to duplicate the sweeping comb-filter sound created when one of two tape decks playing synchronized material is shifted out of time by pressing a finger on the “flange”...
  • Page 88 EFFECTS GUIDE Advanced Parameters THROUGH ZERO – Setting this to ON adds a delay to the dry path equal to half the sweep depth. This can emulate true tape deck flanging, where one of the two tapes is first ahead of, and then behind, the other. PHASE REVERSE –...

  • Page 89: Formant [Frm]

    EFFECTS GUIDE 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 plays guitar sounds through a tube into a real human mouth, comes far closer to the sound of actual speech, but is considerably more unwieldy than a wah pedal.

  • Page 90: Gate/Expander [Gte]

    EFFECTS GUIDE 5.14 Gate/Expander [GTE] The downward Expander module is sort of a “reverse compressor” that increases the difference between loud sounds and soft sounds by lowering the volume of soft sounds even further. When set up to completely silence incoming signals below a certain threshold, the expander is called a gate.

  • Page 91: Graphic Equalizer [Geq]

    EFFECTS GUIDE 5.15 Graphic Equalizer [GEQ] The Graphic Equalizer is a multi-band equalizer capable of running in 5,7, 8, or 10 band configurations. Each instance of the Graphic EQ 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 any Modifier assignments).

  • Page 92: Looper [Lpr]

    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 93 EFFECTS GUIDE except “OFF”, loop length is forced to a whole number of beats/subdivisions of the GLOBAL TEMPO (p. 158). If you stop recording too soon or too late, it will be extended or trimmed to the nearest quantize “tick” value. RECORD BEATS allows you to pre-determine the number of units.

  • Page 94: Megatap Delay [Mgt]

    EFFECTS GUIDE 5.17 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.
  • Page 95 EFFECTS GUIDE TIME ALPHA – Sets the acceleration of the rate of time change across the taps. A setting of 0% results in no effect, while 100% results in an extreme effect. Ex: Decreasing, Moderate Alpha Ex: Decreasing, Higher Alpha AMPLITUDE SHAPE –...

  • Page 96: Mixer [Mix]

    EFFECTS GUIDE 5.18 Mixer [MIX] The Mixer block contains a simple, linear mixer able to combine up to four stereo signals into either a stereo or mono mix. Each pair of gain and balance controls corresponds to a row of the grid. For a more thorough description of how Axe-Fx II mixers work, see section 16.10, Mixology, on p.

  • Page 97: Multiband Compressor [Mbc]

    EFFECTS GUIDE 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. The basic principle of the Multiband Compressor is that the input is divided into three component signals using a crossover.

  • Page 98: Multi-Delay [Mtd]

    EFFECTS GUIDE 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 99: 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 100 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 101: Plex Delay

    EFFECTS GUIDE 5.20.2 Plex Delay In terms of delay effects, a multiplexer, or “plex,” is a feedback network through which each of several delay lines is fed back to itself and all the others. The result is a very smooth, reverb-like effect. When combined with modulation, the result is a huge and lush-sounding space effect that can have qualities of echo, reverb, and chorus all at once.

  • Page 102: Plex Detune

    EFFECTS GUIDE DUCKER THRSHLD – (Ducker Threshold) Sets the trigger level of the ducker. If the input signal exceeds this value, the delayed signal will be reduced by the amount set with the attenuation control. DUCKER REL TIME – Sets how long it takes for the delay signal to return to normal when the input drops below the threshold.

  • Page 103: Plex Shift

    EFFECTS GUIDE 5.20.4 Plex Shift The Plex Shift is nearly identical to the Plex Detune, which is itself very similar to the Plex Delay. Its pitch shifters, however, are granted a two-octave range with SHIFT parameters. This sub-algorithm has the same parameters as the Plex Detune (5.20.3, above) with two exceptions: DIRECTION –...

  • Page 104: Quad Series Delay

    EFFECTS GUIDE 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 105: Ten-Tap Delay

    EFFECTS GUIDE 5.20.7 Ten-Tap Delay The Ten-Tap Delay provides a unique way to control the time, pan, and spacing of one to ten separate echoes. Instead of feedback, it uses an innovative control to determine how the level of the ten taps changes over DECAY time.

  • Page 106: Rhythm Tap Delay

    EFFECTS GUIDE 5.20.8 Rhythm Tap Delay The Rhythm Tap Delay uses the same algorithm as the Ten-Tap Delay but allows you to create a custom rhythm of repeats. You can enter the rhythm in three ways: 1. By specifying milliseconds between each tap and the previous. 2.

  • Page 107: Diffusor

    EFFECTS GUIDE 5.20.9 Diffusor A diffuser uses feedback delays to increase density, “smearing” transients to create interesting reverb effects. At certain time and feedback settings, taps can be heard individually, but the diffusor is typically used to create a lush blanket of sound.

  • Page 108: Tremolo/Panner [Pan]

    EFFECTS GUIDE 5.21 Tremolo/Panner [PAN] The Tremolo/Panner block, as its name suggests, has two uses. Tremolo varies the volume of a signal in a pulsing or chopping way, while the Panner (often referred to a “auto-pan”) varies left and right channel volumes to create the illusion of motion in the stereo field.

  • Page 109: Parametric Eq [Peq]

    EFFECTS GUIDE 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 110: Phaser [Pha]

    EFFECTS GUIDE 5.23 Phaser [PHA] The Phase Shifter, or Phaser, works by cascading a series of all-pass filters and then mixing the processed signal with the input. This causes certain frequencies to be canceled or reinforced, creating notches and peaks. When phase is shifted using a low-frequency oscillator (LFO), these peaks and notches sweep up and down the frequency range to create the phaser’s distinct, hollow, swooshing sound.
  • Page 111 EFFECTS GUIDE FREQ – Sets the start frequency of the first stage filter. This, in combination with the depth control, controls the sweep range of the notches. This parameter is repeated as “START FREQ” on the Advanced page. is not used in the “BARBERPOLE” type.) FREQUENCY TEMPO –...

  • Page 112: Pitch Shifter [Pit]

    5.24 Pitch Shifter [PIT] Fractal Audio’s Intelligent Maximum-Likelihood Adaptive Real-Time (IMART) technology provides superb mono or polyphonic pitch shifting. Pitch shift technology creates an incredible range of effects, from shimmering, detune- based chorus to one-guitar orchestrations of complex harmony, to dive-bombing whammy pedals, and beyond.
  • Page 113 EFFECTS GUIDE Master Parameters Several of the Pitch Shift types include MASTER parameters, detailed below. MASTER PITCH – Scales the SHIFT setting for each of the voices. For example, with at “+12,” VOICE 1 SHIFT set to “-12,” and set to “50%,” the shifts will be heard as VOICE 2 SHIFT MASTER PITCH VOICE 1: +6, VOICE 2: -6.

  • Page 114: Detune

    EFFECTS GUIDE 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. This mode is useful for creating double-tracked sounds or chorus-like effects. Figure 5-27 – The Detune Pitch Shifter Type INPUT MODE –...

  • Page 115: 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 116: Intelligent Harmony

    EFFECTS GUIDE 5.24.3 Intelligent Harmony The Intelligent Harmony Pitch Shifter block type creates harmonies within a certain musical key and scale. The parameter taps a small onboard database of music theory data to adjust shift amounts based on which note SCALES you play.
  • Page 117 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 118: 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 remotely CONTROL using a modifier (p.

  • Page 119: Crystals

    EFFECTS GUIDE 5.24.6 Crystals The Crystals Pitch Shifter is similar to the Fixed Harmony mode (p. 103) 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 120: 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 121: 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 122: 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 123: Quad Chorus [Qch]

    EFFECTS GUIDE 5.25 Quad Chorus [QCH] The Quad Chorus was designed to enable sounds beyond those of the legendary “Tri-Stereo” chorus, a fixture of 80s session player clean sound. It takes time to set up, but your efforts will be rewarded with incredibly lush and liquid chorus sounds.
  • Page 124 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 125: Resonator [Res]

    EFFECTS GUIDE 5.26 Resonator [RES] The Resonator consists 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.

  • Page 126: Reverb [Rev]

    EFFECTS GUIDE 5.27 Reverb [REV] Aside from distortion, no effect has been more important to the electric guitar than reverb. Since the dawn of guitar amplification, guitarists in small spaces yearned for the sounds their amps made in a hall or large room. Early simulators incorporated metal springs and plates, but as with delay processing, reverberation effects were truly revolutionized by digital technology.
  • Page 127 EFFECTS GUIDE Basic Parameters TYPE – Selects the reverb type. There 40+ variations of type based on a smaller number of core algorithms: TYPE NOTES Room Simulates an actual room. This is the type to use when you want the most natural, realistic reverb.
  • Page 128 EFFECTS GUIDE HF TIME, LF TIME, LF XOVER – The Axe-Fx reverb algorithm is actually multi-band, allowing for very natural effects. These parameters control decay times for the bands, plus the crossover frequency. EARLY DIFFUSION : This sets the amount of diffusion in the early reflections. Higher values result in fuzzier and less distinct echoes.
  • Page 129 EFFECTS GUIDE The Advanced page also contains the ducking controls. Ducking causes the “wet” level to be lowered automatically when you play (or play louder—depending on the threshold.) DUCKER ATTEN – Attenuation sets the amount that the wet signal will duck (decrease). A setting of 12 dB, for example, will decrease the reverb level by 12 dB when the signal ducks.

  • Page 130: Ring Modulator [Rng]

    EFFECTS GUIDE 5.28 Ring Modulator [RNG] Figure 5-38 – The Ring Modulator Block Commonly used on synth and fusion electric piano sounds (or to create Dalek/X-wing pilot voices), the Ring Modulator uses fast changes in amplitude to create subtones (or supertones?) harmonically unrelated to the input.

  • Page 131: Rotary Speaker [Rot]

    EFFECTS GUIDE 5.29 Rotary Speaker [ROT] A Hammond B3 Organ without a Leslie cabinet is like a BLT without lettuce and tomato. Guitar players also revel in wonderful, spinning, 3D sound of the Leslie and its brethren. The classic unit contains a spinning slotted drum and a rotating horn called a rotor.

  • Page 132: Synth [Syn]

    EFFECTS GUIDE 5.30 Synth [SYN] The Axe-Fx II Synth block contains a 3-voice monophonic synthesizer that can be used as a tone generator or to track the pitch of your playing for synth leads with a guitar or other instrument. Each voice has its own resonant filter and may be set to produce any of seven different oscillator waveforms.

  • Page 133: Tone Matching [Tma]

    EFFECTS GUIDE 5.31 Tone Matching [TMA] The Tone Matching block matches the sound of the Axe-Fx II to the sound of another amp, recording, or device. It does this by analyzing the difference between a “reference signal” and the sound of a starting point preset (the “local”...

  • Page 134: 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 135 EFFECTS GUIDE LEVEL 1–16 – These parameters appear as sliders across two pages. They set the out level for each of the 16 bands. PAN 1–16 – These parameters appear as sliders across two pages. They set the out pan for each of the 16 bands.

  • Page 136: Volume/Pan [Vol]

    EFFECTS GUIDE 5.33 Volume/Pan [VOL] The Volume/Pan block can be used either as a “spot fix,” to adjust volumes or pans within a preset, or as a dynamic control with an external expression pedal. Each Axe-Fx II preset can use four fully independent Volume blocks. VOLUME –...

  • Page 137: Wahwah [Wah]

    EFFECTS GUIDE 5.34 Wahwah [WAH] 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 138: Input Noise Gate

    EFFECTS GUIDE 5.35 Input Noise Gate Every Axe-Fx II preset includes a “built-in” Noise Gate connected directly to the main inputs. To edit noise gate parameters, press and navigate all the way to the left to select the IN/GATE column at the left of the grid, then press .

  • Page 139: Input Impedance

    EFFECTS GUIDE 5.35.1 Input Impedance parameter appears on the page with Noise Gate parameters, but is not part of the Noise Gate. INPUT IMP Instead, it changes the actual analog circuitry of the input jack to alter the way the Axe-Fx II interacts with your guitar.

  • Page 140: Output Mixer

    EFFECTS GUIDE 5.36 Output Mixer Every preset includes a fully programmable output mixer. 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. To edit Output Mixer parameters, press and navigate all the way to the right to select the OUTPUT column at the right of the grid, then press...
  • Page 141 EFFECTS GUIDE See DELAY on p. 60 for details. LEVEL – As you would expect, the controls set the output level of a block. Almost all controls have LEVEL LEVEL a range from -80.00 to +20.00 dB. Exceptions include the Compressor and Filter (+/-20.00 dB) and the Drive, which ranges from 0-10 dB.
  • Page 142 EFFECTS GUIDE INPUT GAIN – This parameter, available on reverb, pitch shift, and all three types of delay blocks, determines the amount of signal fed to the effect portion of the block. It has no effect on the dry signal. Within the block, this simulates the way an “Aux Send”...

  • Page 143: Global Blocks

    GLOBAL BLOCKS 6 Global Blocks Introduction The Global Blocks feature is completely new and exclusive to the Axe-Fx II. Those familiar with Global Amps from previous Axe-Fx products will find this system greatly expanded and improved. Those new to the Axe-Fx will appreciate how Global Blocks enable central control of blocks shared across multiple presets.

  • Page 144: Saving To A Global Block

    GLOBAL BLOCKS To review, the Global Blocks feature allows you to:  SAVE the settings for any “normal” block into one of the 10 global memories for that block type/instance. This also creates a “link” between the original block and the fully independent Global Block. ...

  • Page 145: 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 146: Loading Global Blocks Without Linking

    GLOBAL BLOCKS 6.2.3 Loading Global Blocks without Linking It is also possible to load normal blocks from Global Blocks without creating a link. This offers a way to “stamp” settings into a preset without enabling the automatic synchronization that normally accompanies the use of Global Blocks.

  • Page 147: Unlinking Preset And Global Blocks

    GLOBAL BLOCKS 6.2.4 Unlinking Preset and Global Blocks You will sometimes want to remove the link between a normal block and its global master. Removing a link does not change the settings of the local block or its global master. ...

  • Page 148: Modifiers & Controllers

    MODIFIERS & CONTROLLERS 7 Modifiers & Controllers Introduction Modifiers link parameters to controllers, allowing sound features to be automated or remotely controlled in real- time. For example, the sweep of a WAH block might be “attached” to a pedal as it ordinarily is, but you could just as easily assign an LFO for a little Auto-Wah, or an “Envelope Follower”...
  • Page 149 MODIFIERS & CONTROLLERS To Create a Modifier…  Select any controllable parameter ( ) and press the button to show the MODIFIER screen.  Select a to assign to the current parameter or SOURCE choose NONE to remove an existing modifier. ...

  • Page 150: Transformations

    MODIFIERS & CONTROLLERS To start, a WAH block is inserted on the grid. Pressing 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 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 151: 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 152: 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 153: Program Change Reset

    MODIFIERS & CONTROLLERS 7.2.5 Program Change Reset Normally, the last value of an external control source is retained—even across preset changes—until a new value is received. So if you “park” a pedal-controlled Wah, for example, then change to a new preset with the same Wah settings, the newly loaded preset will load with the Wah in the same parked position.

  • Page 154: Adsr 1 & 2

    MODIFIERS & CONTROLLERS DEPTH – Sets the amplitude or “intensity” of the LFO from 0-100%. DUTY – Varies the duty cycle, or “symmetry,” of the Triangle, Square, and Trapezoid waveforms. OUTB PHASE – Adjusts the phase angle of the LFO’s output B with respect to A. At 180°, the outputs are phase-opposite, so while A swings from 0–100%, B swings from 100–0%.

  • Page 155: Sequencer

    MODIFIERS & CONTROLLERS 7.3.3 Sequencer Like any step-sequencer, that of the Axe-Fx II generates repetitive control patterns by looping through a series of steps or “stages,” each of which outputs a specified value. The sequence can be run at a specified rate or be synchronized to the global tempo.

  • Page 156: Pitch Detector

    MODIFIERS & CONTROLLERS 7.3.5 Pitch Detector The Pitch Detector has no menu page or parameters, but appears in all modifier screens as a source. This module monitors the main input signal and analyzes its pitch, outputting a low value for low notes and a high value for high notes.

  • Page 157: Global Parameters

    GLOBAL PARAMETERS 8 Global Parameters The Global Parameters section, accessed by pressing the front panel button, contains four pages of menus that control sound settings across all presets and modes. Changes made in this area take effect immediately without needing to be STORED. The settings for all global parameters are included in a backup of the Axe-Fx II “SYSTEM”...

  • Page 158: Output Parameters

    GLOBAL PARAMETERS NOISEGATE OFFSET Different environments (e.g. studios, stages) and different guitars create different levels (+/- 40.00 dB) of noise interference. This parameter allows you to globally raise or lower the THRESHOLD of the Noise Gate (p. 126). Note that if the THRESHOLD for a given preset is set to “OFF”...

  • Page 159: Custom Scales

    GLOBAL PARAMETERS Custom Scales The Custom Scales (“SCALES”) page of the GLOBAL menu is used to configure custom scales for the Custom Shifter type found in the Pitch Shifter block. PARAMETER Description Custom Scale Number This selects from among the 32 global custom scales available to edit using the 12 (1–32) parameters below.

  • Page 160: Input/Output Parameters

    INPUT/OUTPUT PARAMETERS 9 Input/Output Parameters The Input/Output (“I/O”) Parameters section, accessed by pressing the front panel 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.
  • Page 161 INPUT/OUTPUT PARAMETERS INPUT 2 MODE This determines how the Axe-Fx II handles signals received at the balanced INPUT 2 (LEFT ONLY/ (“FX RETURN”) jacks, setting whether they should be processed in stereo or mono, L+R SUM/ and, if in mono, whether the “LEFT ONLY” or a sum of L+R channels should be used. STEREO) The outputs of the connected device and the nature of the source material will determine which setting is best.

  • Page 162: Midi Parameters

    INPUT/OUTPUT PARAMETERS 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 1–16, OMNI the unit to respond to incoming messages on ANY channel.
  • Page 163 INPUT/OUTPUT PARAMETERS IGNORE REDUNDANT PC This determines whether the Axe-Fx II should re-process or ignore a MIDI program OFF/ON change command for the currently loaded preset. With this setting OFF, the current preset will be reloaded (and changes discarded) if it is selected again via MIDI PC. Turning this OFF allows you, for instance, to load a preset, use various MIDI “instant Access”...

  • Page 164: Control Parameters

    INPUT/OUTPUT PARAMETERS MIDI PC OFFSET Adds the value specified to all incoming MIDI Program Change requests before they 0–255 are processed. This makes it possible, for instance, for the same foot controller programs to access presets 0-127 for one gig, presets 128-255 for another, and presets 256-383 for a third.
  • Page 165 INPUT/OUTPUT PARAMETERS BYPASS Operates the front panel button (p. 8) remotely. NONE/PEDAL…/0-127 TEMPO TAP Provides the ability to set the Global Tempo (see p. 158) through a remote switch. NONE/PEDAL…/0-127 IMPORTANT: Any data value (0-127) for the assigned CC# counts as a tap, so do not use a momentary switch set up to send 127 for ON and 0 for OFF, or you will end up with double-time! TUNER...

  • Page 166: Pedal Parameters

    INPUT/OUTPUT PARAMETERS Pedal Parameters The PEDAL page of the I/O menu contains parameters to set up and use an expression pedal or switch through the jack(s) on the rear panel of the Axe-Fx II. (The Axe-Fx II original and Mark II models have only one pedal jack;...

  • Page 167: 10 Utilities

    UTILITIES 10 Utilities The Utilities section, accessed by pressing the front panel button, contains five pages of menus containing settings and tools that do not affect the sound or routing of the Axe-Fx II. 10.1 LCD Contrast The LCD page of the UTILITY menu contains a single adjustment slider, used to set the contrast of the built-in display to ensure good readability in different viewing environments.

  • Page 168: Vu Meters

    The firmware page in the UTILITY menu utility shows you the VERSION of the currently loaded firmware, and includes a function to place the unit into an UPDATE mode. Note that Fractal-Bot automatically enters UPDATE mode, meaning you don’t need to press ENTER.

  • Page 169: 11 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 button shows the tuner.

  • Page 170: 12 Tempo

    TEMPO 12 Tempo Tempo is used in electronic music for synchronizing different rates and times, whether inside one machine or across different devices. The Global Tempo of the Axe-Fx II allows for both internal and external synchronization, providing effects with a central BPM clock that can run autonomously or march to the rhythm of an upstream device outputting MIDI Beat Clock.

  • Page 171: Tempo To Use

    TEMPO Tempo-synchronized sound functions track changes to Global Tempo in real time, increasing or decreasing as it speeds up or slows down. 12.3 Tempo to Use Every preset contains two saved settings: an actual (BPM) and a second setting called TEMPO TEMPO TEMPO TO USE.

  • Page 172: 13 Backing Up And Restoring

    BACKING UP AND RESTORING 13 Backing Up and Restoring The best way to backup your Axe-Fx II is to a computer using Fractal-Bot, which automates the entire process. Previous firmware versions provided the capability to manually dump and receive presets, banks and system files via MIDI or USB, but this was removed to encourage the use of Fractal-Bot.
  • Page 173 BACKING UP AND RESTORING  RESTORE FACTORY BANK A, B, or C (Axe-Fx II Mark II Only) reads from a separate different ROM memory which always contains a fresh copy of the factory preset banks regardless of what changes you save to the preset memories or backup ROM. These otherwise operate the same as RESTORE USER BANKS, above.

  • Page 174: 14 Firmware Updates

    UTILITY menu utility shows you the Version of the currently installed. Updating using Fractal-Bot Fractal-Bot is hands-down the best way to upgrade firmware. This application for Mac or Windows enables you to easily transmit updates quickly and easily. It’s small, lightweight, and has built-in step-by-step instructions.

  • Page 175: 15 Troubleshooting

    TROUBLESHOOTING 15 Troubleshooting Fractal Audio Systems offers support through its web site at http://www.fractalaudio.com You can also get answers to most questions in our online forum at http://forum.fractalaudio.com The Axe-Fx Wiki at http://wiki.fractalaudio.com/axefx2 is also an excellent source of information.
  • Page 176 TROUBLESHOOTING parameter. Check the CONFIG page of the Global menu to make sure that power amp and cabinet simulations are set correctly (see Chapter 3). Finally, consider trying default settings and the headphone jack for reference. Q: All my presets suddenly sound harsh and bright. What’s going on here? A: Check the CONFIG page of the Global menu (p.

  • Page 177: 16 Appendix

    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 Amplifier TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them.
  • Page 178 Based on “High Gain” channel of this 120W head. Heavy grinding lows and insane gain. FAS 6160 PVH® 6160 A modified version of the PVH 6160 – less fizzy than the original, with a bouncier feel. FAS Bass Created by Fractal Audio Our take on how a bass amp should sound Doc Q7.0...
  • Page 179 APPENDIX FAS Brootalz Created by Fractal Audio This model brings teh brootalz. FAS Brown “The Brown Sound” The original BROWN model from the Axe-Fx Ultra. FAS Class-A Created by Fractal Audio A “Blackface” preamp into a cathodebiased 6L6 power amp with no negative feedback.
  • Page 180 APPENDIX Recto2 Red Mdrn Boogie™ 3-Ch. Dual Rectifier® Based on the modern version of the Dual Rectifier amp. Red channel. Recto2 Red Vntg Boogie™ 2 Ch. Dual Rectifier® Based on the original Mesa Boogie 2-channel Dual Rectifier Red Channel. Ruby Rocket Brt Paul Ruby Rocket Same with the Bright switch in the up position.

  • Page 181: 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 001.

  • Page 182: Loading User Cab Irs

    In addition to the onboard Factory Cabs, the Axe-Fx II XL/XL+ allows you to store up to 1024 “User Cabs” onboard (100 on the Mark II). User Cabs are a great way to explore tones and define your signature sound. Fractal Audio Systems offers professionally produced user “Cab Packs”...

  • Page 183: Shortcuts Overview

    APPENDIX 16.4 Shortcuts Overview The Axe-Fx II has several shortcuts and hidden features. These are summarized below. IN THE AMP BLOCK  With the BASS knob selected, press ENTER to engage or disengage the CUT switch.  With the MID knob selected, press ENTER to engage or disengage the FAT switch. ...

  • Page 184: 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 XL/XL+. Figure 16-1 – 60-Second Edit Guide (Note: The Axe-Fx II Mark II has 384 presets and supports fewer block types with XY.) Doc Q7.0...

  • Page 185: Understanding Preset Size Limits

    APPENDIX 16.6 Understanding Preset Size Limits Each block you add to the grid contributes to a preset’s total CPU load. So do connector cables, modifiers, and “general overhead,” albeit to a far lesser extent. As a preset grows in size and complexity, load on the CPU increases. You can check the current load at any time by pressing and switching to the STATUS page.

  • Page 186: Lfo Waveforms, Duty, And Phase

    APPENDIX 16.7 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 187: Tempo Cross Reference

    APPENDIX 16.8 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 wheel, with their equivalency in BEATS. The heavy border shows a breaking point between common and uncommon tempos.

  • Page 188: Mono And Stereo

    APPENDIX 16.9 Mono and Stereo Here are some points about stereo and mono operation of the Axe-Fx II. 1. Each Grid row is Stereo – Many new users don’t initially realize that a single path through the grid is already in full stereo. You don’t need two rows for this! There are four full-stereo paths, then, from the input to the output.

  • Page 189: Mixology

    APPENDIX 16.10 Mixology The MIXER and FX LOOP blocks—and every preset’s output mixer—all contain 4‐channel mixers. As on a real mixer, the parameters on the input channels determine what comes into the mixer. The overall mix LEVEL GAIN may then be acted upon by master output , and, where applicable, master balance controls.

  • Page 190: Humbuster™ Technology

    APPENDIX 16.11 Humbuster™ Technology All 1/4" outputs of the Axe-Fx II feature our new Humbuster™ technology, which senses and subtracts the ground noise of connected equipment using a simple stereo-to-mono cable. This provides up to a 20 dB reduction in ground noise without resorting to dangerous "cheater plugs,"...

  • Page 191: Setting Up A Wah Pedal

    APPENDIX 16.12 Setting up a Wah Pedal 16.12.1 Using the Onboard Pedal Jack Setting up a pedal for use as a wah (or a whammy, or a volume, etc.) is a four-step process. 1. Connect the pedal. 2. Calibrate the pedal. 3.

  • Page 192: Using An Expression Pedal On An Mfc-101

    16.12.2 Using an Expression Pedal on an MFC-101 The process for using an expression pedal connected to a Fractal Audio Systems MFC-101 MIDI Foot controller is almost the same as that required for the onboard PEDAL jack. 1. Connect the pedal to the MFC-101 PEDAL 2 jack. (Pedal 1 is pre-programmed for VOLUME control.) 2.

  • Page 193: Setting Up Spillover

    APPENDIX 16.13 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 194: Using Send And Return

    APPENDIX 16.14 Using Send and Return The Feedback Send and Feedback Return blocks (p.73) have two main uses: creating feedback loops and extending the length of effects chains beyond the size of the grid. 16.14.1 Creating Feedback Loops Feedback loops allow you to combine effects in interesting ways and then route the output back to the input. The figure below demonstrates this by using an exaggerated overlay of a preset illustration rendered in Axe-Edit.

  • Page 195: Extending The Length Of Effect Chains

    APPENDIX 16.14.2 Extending the Length of Effect Chains The 4x12 grid will suffice for the vast majority of long, complex routings. However, certain “Axe-aholics” require a way to break this virtual sound barrier and exceed the number of columns available in the grid. The Feedback Send and Return can be used for just this purpose.

  • Page 196: Scenes

    APPENDIX 16.15 Scenes Note: A separate “MINI MANUAL” also covers SCENES. Find it on our web site support page at: http://www.fractalaudio.com/downloads/manuals/axe-fx-2/Axe-Fx-II-Scenes-Mini-Manual-1.02.pdf In addition to amp and cab modeling, an Axe-Fx II preset can contain a number of pre- or post-effects—an entire virtual guitar rig with tremendous flexibility and control.

  • Page 197: Selecting Scenes

    APPENDIX 16.15.1 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 198: Spillover In Scenes

    APPENDIX 16.15.4 SPILLOVER IN SCENES BYPASS MODE (on the MIX page of most block edit menus) determines how effects sound when bypassed by a scene change. Familiarize yourself with each of the options by reviewing Bypass Mode Parameters (Section 5.37 on page 128).

  • Page 199: Mfc-101 Scene Features

    APPENDIX With SCENE REVERT “ON”, modifications are lost when you change the scene without saving first. So if you tweak scene 1, switch to Scene 2, then back to Scene 1, Scene 1 will have reverted to its previously saved state. This makes scene changes feel more like traditional preset changes.

  • Page 200: Modifier Power

    APPENDIX 16.16 Modifier Power! This list used to appear at the end of the MODIFIERS chapter. It was moved here to make space there for updated content. Here is a list of ideas for the MODIFIER feature of the Axe-Fx II: Eliminate conspicuous chorus “pulsing”...

  • Page 201: Glossary & Resources

    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. for a diagram and details. Fractal-Bot: Fractal-Bot is an application for Mac or Windows computers which enables you to easily transmit firmware updates or other files to your Axe-Fx II. http://www.fractalaudio.com/fractal-bot.php Doc Q7.0...
  • Page 202 APPENDIX FRFR: “Full range, flat response.” This acronym is used to describe a “neutral” speaker or speaker system that is designed to reproduce the entire audible spectrum of 20 Hz – 20kHz without emphasis or de-emphasis. It is invariably an approximation. Hz: Hertz.
  • Page 203 APPENDIX pF: Picofarads. You’ll only see it on one parameter, the amp’s BRIGHT CAP value, where it affects treble response. Phantom Power: By leveraging an unused pair of copper wires inside of a MIDI or other cable, the Phantom Power system allows a single cable to carry both MIDI data and power between the Axe-Fx II and a connected floor unit.

  • Page 204: Axe-Fx Ii Bank & Preset Numbers Table

    APPENDIX 16.18 Axe-Fx II Bank & Preset Numbers Table The following table shows the BANK SELECT and PROGRAM CHANGE commands needed to recall an Axe-Fx II preset via MIDI. DISPLAY OFFSET (p. 150) has the potential to add +1 to all of the preset numbers (non-bold). Remember that any Bank Select message stays in effect until a new one is received of the Axe-FxII is rebooted.

  • Page 205: Factory Default Settings

    APPENDIX 16.19 Factory Default Settings GLOBAL CONFIG Modeling Version NEWEST Power Amp Modeling: Cabinet Modeling: Spillover: BOTH Global Reverb Mix (offset): Global Effects Mix (offset): Global Noisegate Threshold Offset Global Amp Gain: IR Capture Mode ULTRA-RES GLOBAL OUT 1 All bands flat (0.00) GAIN: Flat (0.00) GLOBAL OUT 2...
  • Page 206 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 207: 17 Specifications

    SPECIFICATIONS 17 Specifications 17.1 Axe-Fx II XL/XL+ 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.

  • Page 208: Axe-Fx Ii Mark Ii Specifications

    SPECIFICATIONS Specifications subject to change without notice. 17.2 Axe-Fx II Mark II 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”...

  • Page 209: Midi Implementation Chart

    Selecting a preset via the Axe-Fx II front panel will also transmit the corresponding bank select and program change number messages. The list of parameters that can be controlled/edited via SysEx is listed in Fractal Audio the Owner’s Manual under Factory Default Settings. System Exclusive Real-Time Real-time SysEx is used to transmit Tempo and Tuner.

  • Page 210: 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. You should contact the shipper for proper claims procedures in the event of damage or loss resulting from shipment.

  • Page 211: End User License Agreement

    GRANT OF LICENSE FOR PRE-INSTALLED OR USER UPGRADED FIRMWARE (“THE SOFTWARE”) Subject to the terms and conditions set forth herein, Fractal Audio Systems, ("FAS") grants you an individual, personal, non-sub licensable, nonexclusive license to use this product in accordance with the applicable end user documentation, if any (the "License"). The user will not, directly or indirectly, reverse engineer, decompile, disassemble or otherwise attempt to discover the source code or underlying ideas or algorithms of the Software;...

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