Fractal Audio Axe-Fx III Owner's Manual
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Fractal Audio Axe-Fx III Owner's Manual

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Manual Version 1.0g for Axe-Fx III Firmware 1.x

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Summary of Contents for Fractal Audio Axe-Fx III

  • Page 1 Manual Version 1.0g for Axe-Fx III Firmware 1.x...
  • Page 2 Inside Front Cover...

  • Page 3: Declaration Of Conformity

    Declaration of Conformity Manufacturer’s Name: Fractal Audio Systems, LLC Manufacturer’s Address: 4 Wilder Drive, Plaistow, NH 03865 USA Declares that the product: Product name: Axe-Fx III Product option: None Conforms to the following Product Specifications: Safety: EN60065:2014 EMC: EN55013:2013 EN55020:2007+A11:2011...

  • Page 4: Important Safety Instructions

    Manufacturer names and product names mentioned herein are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems, LLC. The names are used only to illustrate sonic and performance characteristics.

  • Page 5: Table Of Contents

    Sending MIDI with Scenes ....46 Welcome to the Axe-Fx III ....1 Scenes, Channels &...

  • Page 7: Introduction

    WELCOME TO THE AXE-FX III The Axe-Fx III is the latest product in our long line of industry-leading guitar processors, and the world’s most powerful unit of its kind. Axe-Fx III runs our latest “Ares” amp models, plus UltraRes™ speaker cab simulations and legendary effect algorithms, all with significantly more raw power than any previous Fractal Audio Systems product.

  • Page 8: Feature Summary

    Dedicated USB Input block for reamping/processing tracks. ƒ Front panel LED meter bridge for instant visibility of levels. ƒ MIDI-over-USB between Axe-Fx III and a computer is ƒ Easy-to-use interface allows intuitive and efficient editing. ƒ 10× faster than the same connection on Axe-Fx II.

  • Page 9: The Setup Menu

    1 INTRODUCTION THE SETUP MENU Throughout this manual, you will be directed to the Setup menu of the Axe-Fx III for a range of options including I/O, MIDI, global settings, and more. It includes the following areas: ƒ The Foot Controllers menu includes all settings for a connected FC Series controller.

  • Page 10: Quick Connect Guide

    QUICK CONNECT GUIDE Perhaps the best and most flexible way to enjoy your Axe-Fx III is through a full-range system such as Studio Monitors, a high-quality PA, or full range cabinets designed specifically for guitar. All of the factory presets are designed for this type of setup.

  • Page 11: Setting Levels

    1 INTRODUCTION SETTING LEVELS Setting proper levels is critical, but easy, with abundant meters to inform you about levels on the Axe-Fx III. INPUT LEVELS The Axe-Fx III comes ready-to-use for the typical guitar or bass, but you should check that your guitar output level is not clipping the inputs.

  • Page 12: Humbuster™ Cables

    For this to work, you must use a special Humbuster cable with one TRS end (like a balanced cable) and one TS end (like a guitar cable). The TRS end connects to the Axe-Fx III. The TS end connects to your amp.

  • Page 13: The Home Page: Presets

    THE HOME PAGE: PRESETS Once you have connected your Axe-Fx III you can begin to audition factory preset sounds. Remember that aside from a few templates, the factory presets are designed for use with full-range speakers / monitors / headphones.

  • Page 14: Intro To The Layout Grid

    INTRO TO THE LAYOUT GRID Behind every Axe-Fx III preset is the Grid, a matrix of rows and columns that is the key to unlocking the true potential of this unit. In the world of traditional gear, our options are limited by budget, space, weight, and the limits of the equipment itself.

  • Page 15: Intro To Scenes And Channels

    Instead, it just instantly sets the blocks and channels as needed for the new scene. Reverb and delay effects are easy to set up for “spillover” so tails can ring out. On the Axe-Fx III, scenes even have their own names, which is especially helpful.

  • Page 16: Grid Editing: Quick Start

    1 INTRODUCTION GRID EDITING: QUICK START Learn more about the grid in Section 5. Meanwhile, here’s a very quick primer:  From the Home page, press LAYOUT (knob C) or ENTER to show the grid (the Edit page of the Layout menu).

  • Page 17: Usb Overview

    USB provides the Axe-Fx III with a host of great features. A 16-core, 500 MHz microcontroller provides 16 channels of flawless USB audio (8 in, 8 out) allowing the Axe-Fx III to be the center of your music workstation. The audiophile-grade signal path components and converters provide better audio performance than most dedicated USB audio interfaces.

  • Page 18: Connecting Pedals Directly

    TO CONNECT & CALIBRATE AN EXPRESSION PEDAL . . . Expression pedals for the Axe-Fx III should have a linear resistance taper and must have a maximum resistance in the range of 10–100kΩ. Expression pedals must be used with Tip-Ring-Sleeve (TRS) cables! Connect your expression pedal to the desired jack with a TRS cable, then follow these instructions to calibrate:  Page to the Pedal page of the I/O menu under SETUP.

  • Page 19: Global Expression Pedal Setup

    GLOBAL VOLUME PEDAL SETUP The Axe-Fx III allows remote control of the volume at all input and output blocks. If you have a second pedal, or if you want to use one pedal for global volume instead of expression, follow the instructions below to set it up.

  • Page 20: Hardware Overview

    2 HARDWARE OVERVIEW THE FRONT PANEL Chassis — The Axe-Fx III is housed in a rugged 3U steel chassis with a sleek anodized aluminum front panel. A pair of high-strength handles make the unit easy to manage. Power Switch — The front panel power switch turns the Axe-Fx III on or off and features pop suppression.
  • Page 21  You can use traditional effect pedals between your guitar and the Axe-Fx III. You may need to trim the input when using a loud guitar or pedal. See “Setting Levels”...

  • Page 22: The Rear Panel

    2 HARDWARE OVERVIEW THE REAR PANEL ANALOG INPUTS Axe-Fx III inputs are extremely flexible. Any input can be placed as a block on the grid for use in any number of scenarios. Example rig diagrams are provided in Section Input 1 [Instrument] (mono) — (1) 1/4" Jack (unbalanced) — Plug your instrument into this jack intended specifically for use with electric, acoustic, and bass guitars.
  • Page 23 SPDIF/AES Select parameter found in SETUP: I/O: Audio. These jacks transmit and receive at a fixed rate of 48k. The Axe-Fx III defaults to using its internal clock but can also use Word Clock signals received at the digital input.

  • Page 24: Usb

    The USB connection also carries high-speed “MIDI-over-USB”. On the computer, the Axe-Fx III MIDI In port inputs MIDI data from the Axe-Fx III. The Axe-Fx III MIDI Out port transmits data from the computer to the Axe-Fx III. MIDI-over-USB performs the same functions as regular 5-pin MIDI, only faster. For example, the Axe-Fx III will process an incoming MIDI Program Change message whether that message is transmitted through the unit’s own...

  • Page 25: Usb Inputs And Outputs

    3 USB USB INPUTS AND OUTPUTS Each of the 16 USB audio channels is “hard-wired” to a specific Axe-Fx III input or output. As with all USB Audio devices, inputs and outputs are defined with respect to the computer. COMPUTER INPUTS 1+2 Source: The output of the OUT 1 block on the grid.

  • Page 26: Mac Os X System Audio

    EXAMPLE: Let’s say your Axe-Fx is connected to a mixer for live performance. You want to use the Axe-Fx III as your audio interface and have processed guitar on one set of mixer channels and iTunes backing tracks on a different set of mixer channels.

  • Page 27: Re-Amping

    1 . In your DAW, select Axe-Fx III as the main audio interface. Set the main outputs to Axe-Fx III Outputs 1+2. 2 . Create a new project in the DAW, and set its sample rate to 48kHz. Record or insert any backing tracks.

  • Page 28: Setting Up

    4 SETTING UP 4 SETTING UP This section provides an overview of popular Axe-Fx III setups. This is just the beginning. The number of inputs and outputs, combined with the new modular Input/Output block approach, makes possible an incredible number of rig designs, whether combining applications or creating totally new ones.

  • Page 29: Frfr/Direct

    PA speakers (including “Personal Monitor” wedges) or studio monitors. In some cases, signal from the Axe-Fx III may pass through a mixer first. That’s fine, as long as you connect to line inputs. You do NOT need to use a mic preamp! Contact your mixer’s manufacturer if you have any questions.

  • Page 30: Frfr Monitor + Frfr To Front-Of-House

    This type of setup is similar to the previous FRFR/Direct setup except that it also sends signal to a mixer for front- of-house mixing (and possible band monitors). In this configuration, the Axe-Fx III creates a fully modeled end-to- end guitar signal path for the ultimate in tonal flexibility—stompboxes, amps, cabs, post effects, and more.

  • Page 31: Power Amp & Guitar Speakers

    There are two categories of power amp that you can recommended to reduce hum from ground loops. use with the Axe-Fx III. A sonically “neutral” power amp is generally the preferred variety. Such amps (mostly solid-state) allow you to use Power Amp Modeling in the...

  • Page 32: Power Amp & Cab + Frfr/Direct

    4 SETTING UP POWER AMP & CAB + FRFR/DIRECT Global Settings: Default, check I/O Mono/Stereo settings Presets: Custom In this setup, custom presets simultaneously send two different signals—WITH speaker sims sent to a full-range front-of-house/monitors P.A. mix, and one WITHOUT speaker sims, sent to a “backline” rig consisting of a power amp and traditional guitar cab.

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

    4CM requires special presets with no Amp or Cab blocks. A stylized illustration appears below. Signal hits the Axe-Fx III first, where it is processed by pre effects. Output 3 feeds the front of the amplifier. A chain of post effects is run in the amp’s FX loop using Input 4 and Output 4. Note that the pre and post chains are not connected to each other at all on the grid.

  • Page 34: Fx Processor Only ("Post")

    Presets: Custom Although it was designed for complete rig replacement, the Axe-Fx III can also be put to superb use as a standalone FX processor, providing access to our industry leading effects for those who are not ready to make the switch to modeling.

  • Page 35: Fx Processor Only ("Pre")

    Global Settings: check I/O Mono/Stereo settings, see also “Tip” below Presets: Custom Here, the Axe-Fx III is used as the ultimate virtual pedalboard, providing access to our vast collection of industry- leading effects between guitar and amp, where traditional pedals might be placed. As with all Axe-Fx III setups, you are not limited by the stock offerings but can combine effects in any configuration imaginable, creating totally new sounds using the layout grid and its modular block architecture.

  • Page 36: Inserting Outboard Gear

    Global Settings: As per your usual setup, check I/O Mono/Stereo Settings Presets: Custom With the typical “direct” setup using only Input 1 and Output 1, the Axe-Fx III has enough I/O blocks left over for multiple “send-and-return” inserts of outboard gear. The simple example below imagines a 3rd-party device inserted using Output 3 (used as a “send”) and Input 3 (used as a “return”).

  • Page 37: Multi I/O Setups

    By the way, these signal paths are copies of actual presets used by some artists who endorse Fractal Audio. GUITAR CHAIN + MIXER EFFECTS CPU: 84% Let’s look at a more vertical example.

  • Page 38: Presets

    5 PRESETS OVERVIEW  The Axe-Fx III contains 512 preset slots, each a fully independent rig with its own amp, cab, effects, and more.  The Axe-Fx III ships with various “Factory Presets” pre-loaded, but every preset is a “User” preset which can be changed or completely overwritten.

  • Page 39: The Layout Grid

    D or E knobs, or the NAV buttons. A bottom scrollbar indicates where you are in the overall left-to-right layout. To show the entire grid at once, zoom out with the ZOOM button (Push-knob A). Axe-Fx III Edit...

  • Page 40: Inputs And Outputs

    RESETTING A BLOCK/CHANNEL Blocks on the Axe-Fx III are “initialized” when you place them on the grid, but you may want a fresh start after making various changes. RESET takes only two button presses and can be performed at any time.

  • Page 41: Connector Cables

    5 PRESETS MOVING BLOCKS, ROWS, AND COLUMNS The Tools page of the Layout menu contains various utilities to MOVE individual blocks or entire rows/columns UP, DOWN, LEFT, or RIGHT. When a block or a grid row/column is moved, it changes places with the item in the space it is moved to.
  • Page 42 5 PRESETS THE RULES OF AXE‑FX III CABLES  No cables = No sound. Even one missing link will break the chain.  Signal flows from LEFT to RIGHT.  A cable MUST originate from a BLOCK or a SHUNT. Empty locations are not viable origins.  If you try to connect to an EMPTY location, a SHUNT will be created there.

  • Page 43: Block Inventory

    Set the time, pan, and spacing of one to ten separate echoes. TMA Tone Match Matches the Axe-Fx III to the sound of an amp, recording, or device. TRM Tremolo Creates classic trem, plus auto-pan or extreme psycho acoustic effects.

  • Page 44: Example Preset Grids

    5 PRESETS EXAMPLE PRESET GRIDS Several preset illustrations appear below, to explain how blocks are combined to form presets. These illustrations are screen-captures from Axe-Edit III, rather than representations of the small screen. Ex 1: Sweet and Simple. Wah. Drive pedal. Amp and Cab. Delay and Reverb post. Ex 2: Here some more effects are added, and the reverb is run in parallel to the delay for a different sound.

  • Page 45: Editing Effect Blocks

    5 PRESETS EDITING EFFECT BLOCKS Blocks are fully programmable, allowing you to dial in every setting as desired. The Edit menu for every block contains one or more pages, each with multiple parameters which control various functions. Here’s a quick guide covering how to access and work with the different types of Edit menu pages.

  • Page 46: Saving Changes

    5 PRESETS SAVING CHANGES After editing a preset, you will want to save the results. Every preset in the Axe-Fx III can be modified. There are no permanent presets. When you change the current preset in any way, the front panel "EDITED" LED lights until you STORE or load a new preset.

  • Page 47: Preset Cpu Limits

    ƒ Filter: Order and Q. Lower = less CPU. ƒ Multitap Delay: Type. Different types have different CPU requirements. ƒ Modifiers also affect CPU usage. The Fractal Audio Wiki keeps a list of CPU saving ideas. Find it at: https://wiki.fractalaudio.com/axefx2/index.php?title=Presets,_grid_and_blocks CPU & USB...

  • Page 48: Scenes & Channels

    “spillover” of time-based effects like delay and reverb. That’s just the beginning… this incredibly powerful feature may become one of your favorite aspects of the Axe-Fx III. The Channels feature is almost self explanatory. Most blocks have some number of channels (typically four), and for each channel you can set every parameter of that block to any setting.

  • Page 49: Changing Channels

    6 SCENES & CHANNELS CHANGING CHANNELS Different areas of the Axe-Fx III provide different ways to change channels: ƒ On the GRID – Select the desired block and turn the Channel knob (B). The current Channel is shown above the knob.

  • Page 50: Selecting Scenes

    6 SCENES & CHANNELS SELECTING SCENES Different areas of the Axe-Fx III provide different ways to select a Scene. ƒ On the Home page – Use the NAV UP/DOWN buttons. The current scene is highlighted. ƒ On the GRID – Turn the Scene knob (Push-knob A). The current scene is shown above the knob.

  • Page 51: Selecting Scenes & Channels Remotely

    The number is like an “ID” specifying which function you want to control. A simple example might be a MIDI expression pedal that sends CC#7 which is interpreted as Volume by a device. The Axe-Fx III lets you designate CCs for items in a long list found in the MIDI/Remote menu under SETUP.

  • Page 52: Program Change Mapping

    6 SCENES & CHANNELS PROGRAM CHANGE MAPPING Another way to select Scenes via MIDI is using Custom PC Mapping, which allows a single incoming MIDI Program Change (PC) message to select your choice of both Preset and Scene. This is a popular option in cases where a connected MIDI foot controller lacks the sophistication to transmit the MIDI messages required for scene selection.

  • Page 53: Scenes, Channels & Modifiers

    SCENE REVERT Scene changes you make from the Axe-Fx III front panel (or Axe-Edit III) remain in effect until you save them or discard them by loading a different preset without saving. Changes made via footswitches or MIDI, however, may work differently, depending on a Global Setting called Scene Revert.

  • Page 54: Leveling Presets

    THE RULE OF THUMB  There are a lot of different ways to adjust level on the Axe-Fx III. A good rule of thumb is to use the Level parameter of the Amp block. See “The Method” on the next page for an explanation of how to work through this process across presets, scenes and channels.

  • Page 55: A Method For Leveling

    This helps ensure that you will have plenty of headroom and avoid clipping. It’s OK for certain tones to be very quiet: the Axe-Fx III has an extremely low noise floor and does not suffer internally from the kinds of problems which plague analog gear at lower than “optimal”...

  • Page 56: Block Bypass Levels

    7 LEVELING PRESETS BLOCK BYPASS LEVELS Not just amps and cabs, but block effect settings also contribute to preset levels. Here are some tips to help dial in effects, so that levels can remain consistent as you bypass or engage blocks.  Sometimes, effects are intended specifically to boost or cut levels.

  • Page 57: Blocks Guide

    8 BLOCKS GUIDE 8 BLOCKS GUIDE UNDER CONSTRUCTION ă This section is under construction with some blocks not yet included but more being added daily. Many of these blocks have exciting updates and improvements, but in the meanwhile, the following PDF from the older Axe-Fx II processor covers many of their details and parameter descriptions: https://www.fractalaudio.com/downloads/manuals/axe-fx-2/Axe-Fx-II-Blocks-Guide.pdf We are also here to answer questions at...

  • Page 58: Input & Output Blocks

    INPUT & OUTPUT BLOCKS 5 Blocks, 4 Channels INPUT BLOCKS Insertable Input blocks are new on the Axe-Fx III. To process any input signal, a preset must have at least one Input block. Like all input meters, Input blocks are BLUE. INPUTS 1–4 Each of the four numbered Input blocks inserts signal on the grid from the corresponding Axe-Fx III input.

  • Page 59: Output Mixer Parameters

    OUTPUT BLOCKS 4 Blocks, 4 Channels Output blocks are new on the Axe-Fx III. To output any input signal, a preset must have at least one Output block. Like all output meters, Output blocks are GREEN. The Output 1 block transmits signal to the physical Output 1 jacks and to Axe-Fx III Inputs 1+2 on a connected computer.

  • Page 60: Input 1/Instrument Impedance

    Input blocks and Output blocks each have four channels. This gives them multiple sets of parameters you can use to vary their operation from scene to scene. Unlike other Fractal Audio products, the Axe-Fx III does not store the Main block output level independently for each scene.

  • Page 61: Common Mix/Level Parameters

    COMMON MIX/LEVEL PARAMETERS Almost every block in the Axe-Fx III has a Mix page with parameters that determine how that block contributes to the preset. All Mix pages use one or more of the following standard parameters. Different blocks have different Mix page parameters because they require different approaches.
  • Page 62 8 BLOCKS GUIDE Input Gain – Determines the amount of signal fed to the effect processor within the block. This simulates the way an “Aux Send” would normally feed an effect routed in parallel. It has no effect on the dry signal. It appears on the following blocks: Delay, Megatap Delay, Multitap Delay, Ten-Tap Delay, Pitch, Plex Delay, Resonator, Reverb.

  • Page 63: The Amp Block

    For example, if an original amp has no Master Volume control, meaning its power amp is “wide open”, the Axe-Fx III will set the Master to 10 to ensure accuracy when that model is selected. Of course, you can still adjust any parameter as desired from the recommended starting point.
  • Page 64 – Many amplifiers contain a “treble peaker,” included as a pull or toggle switch, or even hard- wired. Each amp type on the Axe-Fx III includes this control (even if the original mode does not). The effect may be subtle or quite pronounced depending on the amp type. This is also affected by the Bright Cap setting. If the original amp had no bright circuit, Bright is OFF by default but can still be turned on to apply circuit values suited to an amp of that general type.
  • Page 65 8 BLOCKS GUIDE Master Volume – The almighty Master Volume is a very important control. It determines the distortion and dynamics characteristics of the power amp simulator, and its setting at any moment can dramatically change the amp’s sound. As it is turned up, the tone controls will have less influence, and the sound will have more “bloom” and touch sensitivity.
  • Page 66 8 BLOCKS GUIDE POWER AMP PAGE ă Power Tube Type – Changes the characteristics of the virtual amp power tubes. The virtual power amp includes modeling of the plate impedance of the power tubes. Plate characteristics are adjustable via Dynamic Damping, an advanced parameter.
  • Page 67 8 BLOCKS GUIDE POWER SUPPLY PAGE ă Supply Sag – This controls virtual power amp dynamics. Higher settings simulate higher power supply impedance, and thus greater tube plate voltage “droop,” for a more compressed feel. This control interacts with the Master and will have little effect if the power amp is not being “pushed hard”. As Master is increased, the power amp draws more current from its power supply and the Supply Sag control will have more effect.
  • Page 68 8 BLOCKS GUIDE Speaker Compression – Even if you never touch most advanced parameters in the Amp block, don’t overlook Speaker Compression, aka the “chunka chunka” parameter. It models the interaction of the power amp with the power compression of a virtual speaker. Typical guitar speakers compress between 3 and 6 dB depending upon construction, age, volume, etc.
  • Page 69 8 BLOCKS GUIDE DYNAMICS PAGE ă Input Dynamics – Sets the strength of an input dynamics processor. When set below zero, the amp type compresses, resulting in a smoother, less dynamic sound. When set greater than zero, the amp expands, resulting in a punchier, crunchier and more dynamic sound.
  • Page 70 8 BLOCKS GUIDE ADVANCED PAGE: PREAMP SECTION Definition – This control is a basic “tilt EQ” which adds highs/cuts lows, or vice versa. It is located at the amp type’s input, so its effect is heard before preamp distortion or a front-end tone stack. Low Cut Freq –...
  • Page 71 Cathode Follower Compression. Cathode Follower Hardness — The Axe-Fx III models the tubes driving cathode followers. In models that use cathode followers, hardness adjust the shape, warmth, smoothness and decay of CF distortion. ADVANCED PAGE: POWER AMP SECTION Master Vol Trim —...

  • Page 72: The Cab Block

    IRs —now with 16 “Scratchpad” locations! The Cab block in the Axe-Fx III features a four-channel mixer based on our popular Cab-Lab software. It provides the capability to mix and remix IRs on-the-fly as you would do with real mics on a real speaker cabinet.
  • Page 73 8 BLOCKS GUIDE Cab Number – This selects a specific IR by its number within the current bank. Cab Picker – With the cab number field selected, press ENTER to show the Cab Picker. This lists all IRs in the current bank and makes it easy to scroll through the list to find what you are looking for. UltraRes IRs are shown in violet.
  • Page 74 The factory content includes dozens of speakers with multiple different mics in different positions. You may also enjoy “Mix” IRs by Fractal Audio or 3rd-parties, which bring a producer’s experience to you in a single IR. In any case, recognize that the sound of IRs is the very sound of the speakers and mics they capture.

  • Page 75: The Chorus Block

    8 BLOCKS GUIDE THE CHORUS BLOCK 2 Blocks, 16 Types, 4 Channels 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 dimensional and liquid, while more extreme settings can produce a vibrato or “Leslie”...
  • Page 76 8 BLOCKS GUIDE EXPERT PAGE ă 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. High Cut –...

  • Page 77: The Compressor Block

    8 BLOCKS GUIDE THE COMPRESSOR BLOCK 2 Blocks, 5 Types, 4 Channels A compressor reduces the difference between loud and soft sounds by reducing the louder portions of a signal. The designated reduction occurs whenever the measured signal exceeds a set threshold. While a compressor reduces the volume of loud sections, it can simultaneously boost overall level for greater perceived sustain.

  • Page 78: Studio Parameters

    8 BLOCKS GUIDE Look Ahead Time – Despite fast attack times, a compressor can fail to “catch” very fast transients. This setting introduces a short audio delay so the gain control stage can have “advanced notice” from the detector, which is side-chained with no delay.
  • Page 79 8 BLOCKS GUIDE SIDECHAIN PAGE ă This page is used not only for side-chaining, but also to filter signals before they reach the detector of the compressor. A graph shows the effect of the filters. Sidechain Source – determines which signal is used to feed the compressor’s detector. “BLOCK L+R” is the normal setting which selects the compressor’s input (sum of the rows feeding the block).

  • Page 80: The Crossover Block

    8 BLOCKS GUIDE THE CROSSOVER BLOCK 2 Blocks, 2 Channels A crossover splits an audio signal into high and low frequency BLOCK DIAGRAM components so they can then be handled separately. This two- way stereo crossover block contains 4th-order Linkwitz-Reilly filters for excellent separation.

  • Page 81: The Delay Block

    8 BLOCKS GUIDE THE DELAY BLOCK 4 Blocks, 18 Types, 4 Channels The Delay block creates classic, modern, and innovative echo effects. Any delay records an input and then plays it back later in time, creating the effect of an echo… …...

  • Page 82: Mono Types And Common Parameters

    8 BLOCKS GUIDE CONFIG PAGE ă CONFIG PAGE: CONFIGURE SECTION Mono Types and Common Parameters The Mono Delay algorithm has a great set of features including drive, reverb-like diffusion, dual-LFO modulation, EQ in the feedback path, bit reduction, ducking, and more. Time –...

  • Page 83: Stereo Delay Parameters

    8 BLOCKS GUIDE Stereo Delay Parameters BLOCK DIAGRAM: STEREO DELAY TYPES Feedback L Delay Bit Reduce Diffusion DUCK LFOs In Gain Drive Delay Bit Reduce Diffusion DUCK Feedback R Most parameters for the Stereo Delay types work the same as those for the mono types with the exception that the wet signal is stereo-in/stereo out and several additional parameters are available.

  • Page 84: Mono Tape Delay Parameters

    8 BLOCKS GUIDE Mono Tape Delay Parameters The Mono Tape algorithm is quite different from other delays. It features two heads and a unique motor speed control with some very cool "analog" behaviors. Motor Speed – Sets the speed of the tape motor from 50% to 200%. This parameter can be modified in real time, making it possible to “time warp”...

  • Page 85: Reverse Delay Parameters

    8 BLOCKS GUIDE Reverse Delay Parameters The Reverse Delay is based on the Mono Delay type, with differences noted below. The Reverse Delay simulates the impossibility of a performance from the future being heard backwards in the present. It does so by using a delay line to first record for a set time period and then to play that recording backwards.
  • Page 86 8 BLOCKS GUIDE MODULATION PAGE ă This page includes parameters for delay time modulation, plus the ducker, diffuser and output phase controls. LFO Depth Range – Sets the overall delay time modulation depth to "LOW" or "HIGH" range. Phase Reverse –...

  • Page 87: The Drive Block

    Based on a Lovepedal® Eternity. Face Fuzz Based on Dallas Arbiter Fuzz Face®. FAS LED-Drive Designed by Fractal Audio Systems based on LED clipping. FAS Boost Our own take on the boost pedal. Fat Rat A modified version of the Rat Dist. A bit fuller and smoother.
  • Page 88 8 BLOCKS GUIDE Mid Boost A custom mid-boost overdrive. Octave Dist An octave distortion based on the Tycobrahe® Octavia®. Pi Fuzz Based on the Big Muff® Pi fuzz. Plus Dist Based on the MXR™ Distortion Plus. Rat Dist Based on the Pro Co™ Rat Distortion. Ruckus Based on the Suhr™...
  • Page 89 8 BLOCKS GUIDE EXPERT PAGE ă Clip Type – Controls the type of clipping circuit used, based on accurate models of analog components: 4558/ Diode, FET, Full Wave Rectifier, Germanium, Hard, HV Tube, LED, LV Tube, Op-Amp, Silicon, Soft Variable, Null. Clip Hardness –...

  • Page 90: The Enhancer Block

    8 BLOCKS GUIDE THE ENHANCER BLOCK 2 Blocks, 4 Channels The Enhancer block is used for spatialization, enhancing the stereo width of a signal. TYPE PAGE ă Type – Select using the VALUE or NAV buttons with no need to press ENTER. Modern Enhancer relies on frequency-based separation of left and right channels to create a widening effect.

  • Page 91: The Send Block

    8 BLOCKS GUIDE THE SEND BLOCK 2 Blocks, 0 Channels The Send block passes audio to the Return block (see below). On the grid, the Send block behaves exactly like a Shunt. It does not process audio and cannot be bypassed. It has no parameters. THE RETURN BLOCK 2 Blocks, 0 Channels The Return block receives audio from the Send block.
  • Page 92 8 BLOCKS GUIDE 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 overlay of a preset illustration rendered in Axe-Edit. Signal enters the grid at (1), passes through the AMP and CAB, and reaches the output (2), where it is heard in the speakers as you play.

  • Page 93: The Filter Block

    8 BLOCKS GUIDE THE FILTER BLOCK 4 Blocks, 12 Types, 4 Channels 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 TYPE to NULL or as a treble (or mid...

  • Page 94: The Flanger Block

    8 BLOCKS GUIDE THE FLANGER BLOCK 4 Blocks, 12 Types, 4 Channels 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 95 8 BLOCKS GUIDE Feedback – This is the famous “regeneration” control discussed above. Feedback sets the amount of wet signal fed back to the input of the flanger. Extreme values give the flanger a more intense quality as it produces sharp singing resonances or clanging metallic overtones.

  • Page 96: The Multiplexer Block

    2 Blocks, 4 Channels The Multiplexer block or “MUX” is an input switching powerhouse. It combines all Row 1 Axe-Fx III input sources into one block—including two USB options—and can also be used for on-grid switching between rows. Row 6 CONFIG PAGE ă...

  • Page 97: The Plex Delay Block

    8 BLOCKS GUIDE THE PLEX DELAY BLOCK 2 Blocks, 3 Types, 4 Channels The Plex Delay block uses a feedback matrix so that each of multiple delay lines is fed back to itself and all the others. The effect can produce very smooth, reverb-like atmospheric effects. When combined with modulation or detune, the result is a huge and lush-sounding space with qualities of echo, reverb, and chorus all at once.

  • Page 98: Plex Detune Parameters

    8 BLOCKS GUIDE CONFIG PAGE: MASTERS SECTION Master Time – Scales all of the delay times in the block. Master Level – Scales the output levels all of the delay times in the block. Master Pan – Scales all pan values, essentially acting as a width or spread control. Negative values reverse left and right channels.
  • Page 99 8 BLOCKS GUIDE MODULATION PAGE ă Ducker Attenuation – Sets how much the ducker reduces delay levels. A setting of 20 dB will decrease the echoes by 20 dB when the input level is above the threshold. Set to "0" to defeat the ducker. Ducker Threshold –...

  • Page 100: The Realtime Analyzer Block

    8 BLOCKS GUIDE THE REALTIME ANALYZER BLOCK 1 Block, 0 Channels The Realtime Analyzer block is an animated high-resolution multiband spectrum analyzer with parametric control. You can “set-it-and-forget-it” or adjust parameters to match your specific needs. You can tap grid signal anywhere to feed the RTA, allowing you to observe the frequency content.

  • Page 101: The Scene Midi Block

    The Scene MIDI block is unlike other blocks in that instead of processing audio, it transmits MIDI messages through the MIDI OUT port of the Axe-Fx III. It is set up through a single page with no types or channels. It must be manually placed on the grid for per-Scene MIDI messages to be transmitted at all.
  • Page 102 OTHER MIDI TRANSMIT CAPABILITIES If the Scene MIDI block seems overpowered for your needs, the simpler global Send MIDI PC option may be better. It sends a single non-configurable MIDI Program Change message each time the Axe-Fx III loads a new preset. See “MIDI/Remote: General Page”...

  • Page 103: The Ten-Tap Delay

    8 BLOCKS GUIDE THE TEN-TAP DELAY 2 Blocks, 2 Types, 4 Channels The Ten-Tap Delay is fairly self-explanatory, but has a number of features which allow it to be used for some very creative effects. Echoes sweep across the stereo field or play in unique rhythms with this exciting block. TYPE PAGE ă...

  • Page 104: Rhythm Tap Delay Parameters

    8 BLOCKS GUIDE Rhythm Tap Delay Parameters The parameters of the Rhythm Tap delay include those of the Ten-Tap delay except Delay Time/Tempo and Shuffle. It has the following additional parameters for creating unique rhythmic echo patterns: Feedback – Sets the feedback level from the final repeat to the input of the delay line. This is just like feedback in a regular Delay block, except instead of determining how many times a single echo will repeat, this is how much the entire pattern will repeat.

  • Page 105: Modifiers

    9 MODIFIERS 9 MODIFIERS Modifiers allow sound parameters to be remote-controlled or automated in real time. For example, you might use an expression pedal to operate a wah or whammy, or use an LFO controller (Low Frequency Oscillator) to sweep a filter.

  • Page 106: Modifier Tutorial: Wah Pedal

    6. On the Source page, change the SOURCE to your pedal. Depending on how your pedal is connected this might be “Pedal 1” (the on-board expression jack of the Axe-Fx III), or it might be one of the “External Controllers”...

  • Page 107: Modifier Sources Overview

    INTERNAL CONTROLLERS LFO 1 LFO 2 ADSR 1 ADSR 2 Internal controllers are built into the Axe-Fx III and can be programmed in every preset. You will find one Tempo, two LFOs (Low Frequency Oscillators), two ADSRs, a Sequencer Pitch...

  • Page 108: Modifier Parameters

    9 MODIFIERS MODIFIER PARAMETERS The default modifier settings are perfectly linear and direct. You change the source and the parameter follows precisely. But you can also tweak the relationship between source and target. Maybe you want to tune the taper of a pedal controlling a filter sweep.
  • Page 109 9 MODIFIERS UNDERSTANDING MODIFIER MIN AND MAX MIN and MAX set the range of a modifier. This lets you fine-tune modifiers in very cool ways. In the example below, imagine a volume pedal with different settings. Using the principles on this page, you should be able to achieve a wide range of modifier control scenarios.
  • Page 110 9 MODIFIERS ADVANCED MODIFIER CURVES AND SHAPES You can also adjust Start, End, and Slope (which introduces an “S” or “backwards S” shape). The numbers beneath each example below show the settings for Start, Mid, End and Slope. With a bit of experimentation, you will learn to achieve desired modifier effects quickly.

  • Page 111: Internal Controllers

    SEQUENCER The four Scene Controllers provide a way to change sound settings from one Scene The Axe-Fx III Step-Sequencer generates to another. Think of each Scene Controller control patterns by looping through 2–32 as a “virtual knob” whose setting can programmed “stages.”...

  • Page 112: External Controllers

    The External Controller Initial Value parameters can change the startup value for a controller to 100%. Then, when the Axe-Fx III is powered on, any modifiers assigned to the missing controller will be all the way up instead of all the way down. To change the initial value for an External Controller:  Page to the General page of the MIDI/Remote menu under SETUP.

  • Page 113: Tutorial: Scene Controllers

    9 MODIFIERS TUTORIAL: SCENE CONTROLLERS In this tutorial, we will set up a Scene Controller to adjust the Input Drive of an Amp block. While it is easy enough to achieve different amp sounds within a preset simply by switching the channel, this example provides an excellent and easy way to understand how Scene Controllers work.

  • Page 114: Tempo

    Tempo is used in electronic music for synchronizing different rates and times, whether inside one machine or across several. Tempo on the Axe-Fx III allows for both internal and external synchronization, providing effects with a central BPM clock that can either run autonomously or follow the tempo of a connected device outputting MIDI Beat Clock.

  • Page 115: Synchronizing Sound Parameters

    Tempo parameter back to “NONE”. Almost every LFO rate and delay time parameter on the Axe-Fx III can be synced to the tempo. TO SYNCHRONIZE A DELAY TO THE TEMPO . . .

  • Page 116: The Tuner

    11 THE TUNER 11 THE TUNER The Axe-Fx III has a built-in Tuner—essential for the performing or recording musician. The tuner is easy to use and has high-resolution automatic pitch detection, a calibration control, offsets for modified tuning schemes, and the option to mute audio while tuning.
  • Page 117 11 THE TUNER This page intentionally left blank for proper page facing when printing.

  • Page 118: Setup Menu

    Power Amp Modeling This parameter globally enables or disables power amp simulation in all Amp blocks in all presets. This capability is provided for cases when the Axe-Fx III ON/OFF is used with a guitar-oriented/tube power amp that contributes significantly to tone and dynamics.
  • Page 119 12 SETUP MENU PARAMETER Description Effects Mix Boosts or cuts the MIX of all blocks for which the GLOBAL MIX parameter is set to ON. This switch must be enabled on a per-block/per-preset basis and is +/- 50% available on the MIX page of the Edit menu for these block types: Chorus Formant Pitch...

  • Page 120: The I/O Menu

    INTERNAL: uses the internal clock. SPDIF/AES IN SPDIF/AES IN: uses the clock recovered from the current digital input. A valid 48 kHz data stream must be present at the AES or SPDIF port for the Axe-Fx III to operate properly. SPDIF/AES Select This switch selects whether the SPDIF or AES digital inputs and outputs are active.
  • Page 121 12 SETUP MENU PARAMETER Description Output 1 Mode These four parameters determine how signals at the corresponding output Output 2 Mode ports will be processed. This control makes it easy to use the same presets Output 3 Mode in a variety of stereo and mono performance or recording environments. The Output 4 Mode decision between the mono options “SUM L+R”...

  • Page 122: The Ir Capture Utility

    The Pedal page of the I/O menu contains parameters to set up and use an Expression pedal or switch through the Pedal jacks on the rear panel of the Axe-Fx III. Expression pedals should have a linear resistance taper and max resistance of 10kΩ...

  • Page 123: The Midi/Remote Menu

    “OMNI” causes the unit to respond to incoming messages on any channel. 1–16, OMNI Display Offset This causes Axe-Fx III presets to be numbered from 001 instead of from 000. Display Offset only offsets the display (duh)... meaning that it does not change 0, 1 which preset is actually loaded by a given footswitch or MIDI message.
  • Page 124 CC messages can be sent by a MIDI controller or computer connected to the Axe-Fx III MIDI IN jack, or via the USB connection of the Axe-Fx III. Each of these settings is global. In every case, the method for mapping a controller to one of these functions is the same: 1.
  • Page 125 Modifiers). MIDI/REMOTE: LOOPER PAGE Controller assignments for the functions of the Looper. MIDI/REMOTE: OTHER PAGE Controller assignments for various other functions of the Axe-Fx III. PARAMETER Description Tempo Tap Provides the ability to tap the tempo using an external controller. Remember that...

  • Page 126: The Utilities Menu

    114) should be increased. Remember that you need to quit all audio applications or remove and reconnect the USB cable to reset the buffer. UTILITY: FIRMWARE PAGE This page indicates which firmware version the Axe-Fx III is running. USB and FPGA firmware versions are also shown. For more information, see...

  • Page 127: Fc Programming

    13 FC PROGRAMMING 13 FC PROGRAMMING This section will detail programming the Axe-Fx III for new Fractal Audio Systems F-6 and FC-12 Controllers.

  • Page 128: Ir Capture

    IRs). Our store offers many professionally produced Cab Packs, but you can also create your own IRs using the IR Capture utility in the Axe-Fx III. The process is easy and requires only some common pro-audio gear. DECIDE ON A CAPTURE METHOD There are two different methods of IR capture.

  • Page 129: Method 1 Setup: Mic Only

    ƒ Connect the power amp’s speaker out to your speaker. ƒ On the Config page of IR Capture utility in the Axe-Fx III, set CAPTURE METHOD to “MIC ONLY”. ƒ NOTE: IRs created using this method will include any tonal coloration imparted by the power amp. Cab-Lab can remove this effect using a separate “Reference IR”...

  • Page 130: Method 2 Setup: Mic + Di

    A neutral power amp is still preferred, but even a guitar amp will produce excellent results. If you do use a guitar amp, you should connect to its Effects Return if possible, but even the front input can be used, as the Axe-Fx III is able to remove distortion, completely separate the speaker response, and produce a pure and accurate IR.

  • Page 131: Capturing Impulse Responses

    1. Make the connections for your chosen setup as detailed on the previous pages of this section. 2. In the Axe-Fx III, create a preset with an Amp block set to an appropriate model and a Cab block with Cab 1 set to Bank: “SCRATCHPAD”, Number: “1”.

  • Page 132: Additional Topics

    You will need to send over all of the files from your backup set individually. Once the first file completes, send the next file over, and so on, until they are all finished. Remember to reboot the Axe-Fx III immediately if a System file has been transmitted to it! (Fractal-Bot will remind you.)

  • Page 133: Firmware Updates

    4 . Before performing a major firmware update, it is not unwise to back up your Axe-Fx III (see previous page). 5 . Launch Fractal-Bot and proceed through three self-explanatory steps, selecting the downloaded firmware file during Step 2 on the SEND tab.

  • Page 134: Recovery

    RECOVERY PROBLEMS DURING FIRMWARE UPGRADE If your Axe-Fx III will not boot normally, the problem may just be the current preset. You can force the unit to load an empty initialized preset as follows: 1. Power down the unit and wait five seconds.

  • Page 135: Loading User Cabs

    LOADING USER CABS In addition to thousands of onboard cabs in its factory banks, the Axe-Fx III allows you to store up to 2,048 cabs in user memories. These “User Cabs” allow you to personalize your Axe-Fx III with unique tones.

  • Page 136: Axe-Change

    15 ADDITIONAL TOPICS AXE-CHANGE Axe-Change is the official source for sharing preset and cab files for your Axe-Fx III and other Fractal Audio Systems products. You can upload your own creations or browse what others have contributed including some high profile artists (though regrettably many artists treat their Axe-Fx presets as guarded secrets).

  • Page 137: Frequently Asked Questions

    : Q Why all the technical terminology? : A The language of the Axe-Fx III is for the most part the universal language of professional audio. This allows the Axe-Fx III to serve everyone across diverse communities of casual and professional players, producers, engineers, and beyond.
  • Page 138 : A This might be any one (or several) of a number of things. Is every other component in your rig working correctly? Most of the time, the problem is a faulty or disconnected cable. Checking the Axe-Fx III with headphones can help rule this possibility out. Using the DELETE button (Push-knob C), try changing each block to a SHUNT, ending with the Amp and Cab blocks.

  • Page 139: Shortcuts

    15 ADDITIONAL TOPICS SHORTCUTS The Axe-Fx III has several shortcuts and hidden features. These are summarized below. IN GENERAL To show the Layout Grid for the current preset, push the VALUE knob. ƒ Press EDIT to jump to the Edit menu for the currently selected block.

  • Page 140: Spillover

    15 ADDITIONAL TOPICS SPILLOVER Spillover allows delay and reverb tails to “ring out” when an effect is bypassed or when you change channels, scenes, or presets. This section covers how to set up spillover in different scenarios. WHEN BYPASSING A BLOCK (“IA” SWITCHES) Block spillover is easy and requires only a particular setting in the block.

  • Page 141: Lfo Waveforms & Phase

    15 ADDITIONAL TOPICS LFO WAVEFORMS & PHASE All of the modulation effects (Chorus, Flanger, Delays, Phaser, Tremolo, etc.) and the two global LFOs, share a common set of waveform types—“shapes” that define the way values change over time. These are represented below, together with an indication of how the Duty parameter controls wave symmetry.

  • Page 142: Tempo Cross Reference

    TEMPO CROSS REFERENCE The tables below list the rhythmic values available in every Tempo parameter on the Axe-Fx III. The first lists these in the order they appear as you scroll through the Tempo list, with their equivalent in BEATS.

  • Page 143: Midi Reference Tables

    MIDI REFERENCE TABLES MIDI BANK & PROGRAM CHANGE The following table lists the MIDI Bank and Program Change messages required to select Axe-Fx III presets. MIDI Bank Select (CC#0) Value , Midi Program Change = Axe-Fx III Preset Number. 0, 0...
  • Page 144 15 ADDITIONAL TOPICS 1, 82 = 210 2, 6 = 262 2, 58 = 314 2, 110 = 366 3, 34 = 418 3, 86 = 470 1, 83 = 211 2, 7 = 263 2, 59 = 315 2, 111 = 367 3, 35 = 419 3, 87...
  • Page 145 15 ADDITIONAL TOPICS CC VALUE TO SCENE When selecting Scenes using the global options found on the Other page of the MIDI/Remote menu under SETUP, the value of the designated CC# determines the Scene: 0..1 16.

  • Page 146: Specifications

    16 SPECIFICATIONS 16 SPECIFICATIONS INSTRUMENT INPUTS Connectors: Front and rear 1/4" phone jacks, unbalanced (front automatically overrides rear) Impedance: 1 MΩ (less if “Auto-Z” is active) Max. Input Level: +16 dBu ANALOG INPUT 2 Connectors: (2) XLR-F + 1/4" phone “combo jack” balanced Impedance: 1 MΩ...
  • Page 147 Pedal: 10–100 kΩ max Switch: make/break; momentary or latching FASLINK II INTERFACE Connectors: (1) XLR-F WARNING: Connect ONLY to the FASLINK II connector on a Fractal Audio FC Series controller GENERAL Finish: Powder coated steel chassis with anodized aluminum faceplate Controls: 12 buttons, 10 knobs (6 with additional “push”...

  • Page 148: Midi Implementation

    16 SPECIFICATIONS MIDI IMPLEMENTATION The Axe-Fx III features a robust MIDI implementation detailed below. Function Remarks Basic Channel Default Changed 1-16 1-16 Note Number True Voice Velocity Note ON Note OFF After Touch Keys Channels Pitch Bend Control Change Receivable CCs are globally soft-assigned to functions via the MIDI/Remote menu under SETUP.

  • Page 149: Warranty

    Fractal Audio Systems or to make any warranty for Fractal Audio Systems. Fractal Audio Systems may, at its option, require proof of original purchase date in the form of a dated copy of original authorized dealer’s invoice or sales receipt. Service and repairs of Fractal Audio Systems products are to be performed only at the Fractal Audio Systems factory or a Fractal Audio Systems authorized service center.

  • Page 150: Eula

    1) 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”).
  • Page 151 BACK COVER...

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