Fractal Axe-Fx II Owner's Manual
  1. Manuals
  2. Brands
  3. Fractal Manuals
  4. Recording Equipment
  5. AXE-FX II
  6. Owner's manual

Fractal Axe-Fx II Owner's Manual

Digital guitar preamplifier and effects processor
Hide thumbs Also See for Axe-Fx II:
Table of Contents

Advertisement

Quick Links

See also: Owner's Manual , Quick Reference Manual
Owner's Manual

Advertisement

Table of Contents
loading

Related Manuals for Fractal Axe-Fx II

Summary of Contents for Fractal Axe-Fx II

  • Page 1 Owner’s Manual...

  • Page 2: Legal Notices

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

  • Page 3: Certificate Of Conformity

    Certificate of Conformity Fractal Audio Systems, USA, hereby declares on its own responsibility that the following product: Axe-Fx II Digital Guitar Preamplifier and Effects Processor - that is covered by this certificate and marked with CE label conforms to following standards:...
  • Page 4 “Axe-evangelists” to the world’s most celebrated pro players; that we’d soon be writing the foreword to a manual for the sequel: the Axe-Fx II. Nevertheless, the Axe-Fx II is here. Advances in technology and knowledge, along with the shared insights of our community, have allowed us to design and produce a next-generation product that represents a giant step forward.

  • Page 5: Table Of Contents

    Axe-Fx II into Self-Powered Full-Range Speakers................. 18 3.4.2 Axe-Fx II into Studio Monitors ......................18 3.4.3 Axe-Fx II with Power Amp and Guitar Speakers .................. 19 3.4.4 Axe-Fx II Effects Loop ........................... 20 3.4.5 Axe-Fx II Digital Audio Interconnection ....................20 3.4.6...
  • Page 6 TABLE OF CONTENTS 3.4.8 Axe-Fx II as Effects Processor Only (with Guitar Amps) ............... 23 3.4.9 Axe-Fx II as a Computer Audio Interface ..................... 24 3.4.10 Axe-Fx II and MFC-101 ......................... 25 3.4.11 Axe-Fx II: One Possible “Big Rig” ......................26 4 Basic Operation and Editing ............
  • Page 7 TABLE OF CONTENTS 5.6.3 Dual Delay ............................58 5.6.4 Ping-Pong Delay ........................... 59 5.6.5 Sweep Delay............................59 5.6.6 Reverse Delay ............................59 5.6.7 Delay Common Parameters ......................... 60 5.7 Drive [DRV] .................... 62 5.8 Effects Loop [FXL] ................... 64 5.9 Enhancer [ENH] ..................65 5.10 Feedback Send [SND] &...
  • Page 8 TABLE OF CONTENTS 5.24 Pitch Shifter [PIT] ................87 5.24.1 Detune ..............................89 5.24.2 Fixed Harmony ............................. 90 5.24.3 Intelligent Harmony ..........................90 5.24.4 Classic Whammy ..........................93 5.24.5 Octave Divider ............................. 93 5.24.6 Crystals ..............................94 5.24.7 Advanced Whammy ..........................95 5.24.8 Arpeggiator ............................
  • Page 9 TABLE OF CONTENTS 7.1 Introduction ..................119 7.2 Creating a Modifier ................119 7.2.1 Transformations ..........................121 7.2.2 Damping ............................. 122 7.2.3 Auto Engage ............................123 7.2.4 Program Change Reset ........................123 7.3 Control Sources ..................124 7.3.1 LFO1 & 2 ............................124 7.3.2 ADSR 1 &...
  • Page 10 TABLE OF CONTENTS 10.4 Reset System ..................137 10.5 IR Capture ..................138 10.6 Firmware ................... 139 11 Tuner ..................140 12 Tempo ..................141 12.1 Setting the Tempo ................141 12.2 Synchronizing Sound Parameters ............141 12.3 Tempo to Use ..................142 12.4 Auto Delay ..................
  • Page 11 Extending the Length of Effect Chains ................... 160 16.13 Loading User Cab IRs ............... 161 16.14 Glossary & Resources ..............162 16.15 Axe-Fx II Bank & Preset Numbers Table .......... 165 16.16 Factory Default Settings ..............166 17 Specifications ................168 17.1 Midi Implementation Chart ............... 169 Warranty ..................

  • Page 12: What's New

    8-band graphic equalizer for additional tone-shaping without extra blocks. The current lineup of Axe-Fx II amp models are the result of incredibly detailed analysis of the actual amps that inspired them. We spent a small fortune searching out and purchasing vintage and modern amplifiers to add to our reference collection.
  • Page 13 The Axe-Fx II features new dynamic speaker modeling technology in the Amp block. This alone improves the way amp and cab work together for realistic tone and feel. In addition, the Axe-Fx II features a new, higher resolution (2048) convolution cabinet emulator with 70 factory Impulse Responses (IRs) and 50 "USER CAB" memory locations.
  • Page 14 WHAT’S NEW Improved Digital I/O In addition to its USB interface, the Axe-Fx II sports SPDIF and AES input and output connectors. 7-pin MIDI In and a selectable MIDI Out/Thru jack are provided for interconnection with other MIDI-controllable equipment. Built for MFC-101 The Axe-Fx II features an all-new dedicated control port for connecting an MFC-101 MIDI Foot Controller via that unit's EXPANSION port.

  • Page 15: Introduction

    A Word on Modeling You may have noticed that the Axe-Fx II is not typically described as a “modeler.” This is not to diminish its debt to heritage; on the contrary, we’ve done thousands of hours of deep analysis of the greatest amps, cabs, and effects of all time.
  • Page 16 Gone are the headaches and hassles of systems of so many boxes strung together with so many wires, prone as they are to failure and noise. And let’s say a small meteor hits the stage and obliterates your Axe-Fx II: you can literally restore to a new unit during the intermission and be up and running again for the next set.

  • Page 17: The Inventory/Grid Concept

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

  • Page 18: Connectivity And More

    See the Effects Guide (p. 39) for more detail on blocks and their parameters. A powerful new feature of the Axe-Fx II allows you to maintain your own collection of Global Blocks (p.114) that can be inserted and then kept synchronized across multiple presets.

  • Page 19: Overview

    Review the following to familiarize yourself with the hardware features of the unit. 2.1 The Front Panel Figure 2-1 The Axe-Fx II is housed in a powder-coated steel enclosure with an anodized aluminum faceplate. Dual front handles allow easy rack mounting and removal. The POWER Switch turns the unit on or off.
  • Page 20  STORE – Enters the STORE menu where you can save, rename, or swap presets. See p. 37 for details.  BYPASS – Bypasses the Axe-Fx II, routing the output of the A/D directly to the input of the D/A converters, defeating all processing functions and lighting the BYPASS LED.

  • Page 21: The Rear Panel

    OUTPUT 1 – This section includes the Left and Right Output 1 unbalanced (1/4”) Jacks, Balanced (XLR) jacks, and XLR Ground Lift Switch. The main processed output of the Axe-Fx II appears at these jacks. Use the XLR jacks to connect to balanced inputs, employing the provided ground lift switch if necessary to reduce unwanted 60-cycle hum.
  • Page 22 I/O:AUDIO menu (p. 130). These jacks transmit and receive at a fixed rate of 48k. USB – This provides the means to connect the Axe-Fx II to a PC or Mac, enabling a great range of two- way audio and MIDI capabilities.

  • Page 23: Computer Integration

    2.3.2 Software Installation Although the Axe-Fx II drivers are fully class-compliant, software installation is still required on all platforms. Step-by-step instructions are included with the installer. Both Mac and Windows versions can be downloaded from our web site at http://www.fractalaudio.com/support.

  • Page 24: Capabilities

    Two Simultaneous Channels of 48k/24-bit Audio from the Computer to the Axe-Fx II Two outputs, typically called OUT 0 and OUT 1, allow audio to be sent from the computer to the Axe-Fx II where it can be mixed with processed signal at the main outputs or routed through onboard effects.
  • Page 25 Four Simultaneous Channels of 48k/24-bit Audio from the Axe-Fx II to the Computer Four outputs, typically called IN 0, IN 1, IN 2, and IN 3, allow audio to be routed from the Axe-Fx II to the computer, recorded, processed, or monitored.

  • Page 26: Connections

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

  • Page 27: The Pedal Jack

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

  • Page 28: Connection Diagrams

    CONNECTIONS 3.4 Connection Diagrams Familiarize yourself with the capabilities of inputs, outputs, and control connections through this overview. The diagrams that follow in sections 3.4.1 through 3.4.10 illustrate several real-world applications. Figure 3-1 – I/O Overview Doc v3.04...

  • Page 29: Axe-Fx Ii Into Self-Powered Full-Range Speakers

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

  • Page 30: Axe-Fx Ii With Power Amp And Guitar Speakers

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

  • Page 31: Axe-Fx Ii Effects Loop

    “SPDIF/AES” for OUT SOURCE MAIN INPUT SOURCE digital inputs to be connected to the grid. A valid signal must be present at the selected digital input or the Axe-Fx II will display “NO INPUT CLOCK!” Doc v3.04...

  • Page 32: Axe-Fx Ii Four Cable Method ("4Cm")

    To use the 4CM, you will need to create special presets where AMP and CAB blocks are replaced by the FX LOOP block (p. 64). Signal hits the Axe-Fx II first, into any effects that you want in front of the amp—compressor, drive, wah, and the like.

  • Page 33: Direct To Foh Plus Real Amps On Stage

    Global Settings: Default I/O Settings: Set OUT1 MODE and OUT 2 MODE as required for stereo or mono Notes: This setup is similar to others in which the Axe-Fx II is used direct into full-range speakers. Here, however, specially designed “dual-chain” presets also feed on-stage or “backline” amps. The first chain contains a fully simulated signal path.

  • Page 34: Axe-Fx Ii As Effects Processor Only (With Guitar Amps)

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

  • Page 35: Axe-Fx Ii As A Computer Audio Interface

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

  • Page 36: Axe-Fx Ii And Mfc-101

    IMPORTANT: Do NOT connect the MFC-101 power adapter to the MFC-101 or to the Phantom Power jack of the Axe-Fx II while using the MFC Control port connector to connect the two units. The Axe-Fx II provides required power from its internal power supply and transmits it over the Ethernet cable.

  • Page 37: Axe-Fx Ii: One Possible "Big Rig

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

  • Page 38: 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.

  • Page 39: The Grid

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

  • Page 40: Shunts

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

  • Page 41: Connector Cables

    The second example above would produce NO SOUND as nothing is “wired up” to pass signal to the output! If a preset is unexpectedly silent, inspect it carefully for one or more missing cables. The Rules of Axe-Fx II Cables  No cables = No sound. Even one missing link will break the entire chain.
  • Page 42 BASIC OPERATION AND EDITING  If you try to connect to an EMPTY location, a SHUNT will be created there.  You can ONLY connect to blocks in the next column to the right. represents the origin of a connector cable. shows valid possible destinations.

  • Page 43: Moving Blocks On The Grid

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

  • Page 44: Example Presets On The Grid

    Wahwah, Whammy, Tremolo, Overdrive, Phaser, and Flanger are all connected to an AMP/CAB combination, followed by Delay and Reverb. As you can see, the Axe-Fx II supports a great number of simultaneous effects; this preset uses just a portion of the unit’s total CPU power, leaving considerable room for more effects on other rows.
  • Page 45 The presets in this section represent only four examples of the nearly limitless possibilities that can be created using the GRID, BLOCKS, and CONNECTORS of the Axe-Fx II. In addition to reviewing these diagrams, you can gain valuable insight and ideas by exploring the factory presets or by discussing techniques with other members of the Fractal Audio community.

  • Page 46: Editing Sounds

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

  • Page 47: Quick Control

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

  • Page 48: X/Y Quick Jump

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

  • Page 49: Saving Changes

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

  • Page 50: Effects Guide

    “mods” that would require a seasoned tech in the real world. (Even he/she would be unable to achieve many of the options possible with the virtual amps in the Axe-Fx II). It may be best if you can listen to the effects of the various controls while you read this section.
  • Page 51 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...

  • Page 52: Basic Amp Parameters

    DRIVE DRIVE moderately overdriven, or completely distorted. The Axe-Fx II faithfully reproduces the sound of the treble peaker circuit on the control found on many DRIVE amps. This can be heard when the low frequencies are attenuated more than the highs when the DRIVE turned down (and vice versa).
  • Page 53 EFFECTS GUIDE Some of the amps simulated on the Axe-Fx II do not have the full complement of tone controls. Some, for example, have no mid control. To faithfully simulate the configuration of the original, set any superfluous controls to noon (or “0.00” if you are using the “ACTIVE” tonestack type; see below). Of course, you may still adjust to achieve tones the original amp does not have.
  • Page 54 The tone controls will have less influence on the sound, and the sound will have more “bloom” and touch sensitivity. With a little experimentation on your favorite Axe-Fx II amps, you will learn to appreciate the qualities of different settings and how to find the great tones offered by different combinations.

  • Page 55: Advanced Amp Parameters

    EFFECTS GUIDE Amp EQ Page The amplifier includes a built-in, 8-band graphic equalizer, eliminating the need to follow the amp with a separate EQ block for additional tone-shaping. 5.1.2 Advanced Amp Parameters INPUT SELECT – The AMP block processes audio in mono. This control determines how incoming stereo signals will be processed.
  • Page 56 EFFECTS GUIDE TONESTACK FREQ – Sets the center frequency of the tone controls to determine their effect on the sound. This control works whether you are using ACTIVE, PASSIVE, or substitute tone stacks. This parameter defaults to an appropriate value whenever you change the amp , but it can then be TYPE changed as desired.
  • Page 57 EFFECTS GUIDE TRANSFORMER DRIVE – Controls how hard the virtual output transformer is driven. Higher values simulate a smaller, more easily saturated transformer. TRANSFORMER MATCH – This is an extremely powerful parameter that sets the relative output transformer primary impedance which in turn controls how easily the power tubes are driven into clipping. The higher the Master Volume setting the more pronounced the effect of this parameter.

  • Page 58: Cabinet [Cab]

    The Speaker Cabinet Simulator (“Cab” for short) block recreates the tonal characteristics of a variety of speaker and cabinet configurations. The Axe-Fx II contains 70 built-in “factory” cabinet simulations, plus 50 memory locations into which you can load custom Impulse Response (“IR”) files. More than just a simple filter, the Cab block actually recreates the subtle frequency response variations inherent in a real guitar speaker.
  • Page 59 CAB R User Cabs The Axe-Fx II allows you to load up to 50 cabinet IR files of your own choosing. A variety of 3 -party libraries exist, and it is possible (though not a trivial endeavor) to create your own. For step-by-step instructions on loading User Cab IRs, see section 16.13 of the Appendix on p.
  • Page 60 Manufacturer and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Axe-Fx II MIC TYPES.

  • Page 61: Chorus [Cho]

    Used subtly, the effect can be ambient and liquid, while more extreme settings can produce a vibrato or “Leslie” effect. The Axe-Fx II offers a high-quality, multi-voice stereo chorus capable of producing anything from exceptionally smooth ensemble effects to a wildly detuned warble.
  • Page 62 EFFECTS GUIDE – Sets the ratio of wet and dry (duplicated from the MIX page). A setting of 50% produces the most prominent effect. Try setting the mix to 100% for vibrato effects. TEMPO – Sets the chorus rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4”...

  • Page 63: Compressor [Cmp]

    In guitar pedalboards, a compressor is often placed at the start of an effects chain (though using the effect in front of high-gain distortion can increase noise or squealing). In the recording studio, a Compressor is typically placed towards the end of a signal chain to smooth irregular levels. The Axe-Fx II provides both pedal and studio-type compressors (detailed below).
  • Page 64 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 65: Crossover [Xvr]

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

  • Page 66: Delay [Dly]

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

  • Page 67: 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 68: Stereo Delay

    EFFECTS GUIDE 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. Similarly, the parameters must be set to “LEFT” or “BOTH” for modulation to LFO TARGET occur.

  • Page 69: 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 70: 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 Mono Delay (above, p. 66), except the ECHO PAN parameter is replaced by SPREAD.

  • Page 71: Delay Common Parameters

    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 72 A Word on “Spillover” The Axe-Fx II Delay is capable of “spillover,” which means that effect tails ring out when the effect is bypassed or when you change presets. For more on this subject, please see Setting Up Spillover on p. 159.

  • Page 73: Drive [Drv]

    Manufacturer names and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Fractal Drive TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them.
  • Page 74 EFFECTS GUIDE Tape Dist Simulates the clipping of an overdriven reel-to-reel tape deck. Full OD Based on the Fulltone™ Fulldrive OD Pedal. Blues OD Based on the Marshall™ Bluesbreaker®. Shred Dist Based on the Marshall™ Shredmaster®. M-Zone Dist Simulates the Boss™ Metalzone™, popular for extreme gain settings. Bender Fuzz Based on the classic Tonebender circuit.

  • Page 75: Effects Loop [Fxl]

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

  • Page 76: Enhancer [Enh]

    “channel converter” to reduce width, merge to mono, switch L/R channels, or WIDTH perform other types of manipulation. Each Axe-Fx II preset can use one Enhancer block. WIDTH – Sets a delay for the right channel from 0–20 ms. Adjust until the desired effect is achieved.

  • Page 77: Filter [Flt]

    (set both to 0.0) or to reduce the stereo separation, or you can use them as general stereo manipulation tools. The filter is stereo-in/stereo-out. Each Axe-Fx II preset can use four fully independent Filter blocks. Parameters TYPE – Sets the type of filter. All the standard filter types are available. A NULL type has a flat frequency- response characteristic and can be selected if you want to use the block as a simple gain element.

  • Page 78: Flanger [Flg]

    “feedback” control (sometimes called “regeneration” or “intensity”) which returns some of the output signal to the input and intensifies the characteristic sweep. A regenerative flanger is a real attention-getter. Each Axe-Fx II preset can use two fully independent Flanger blocks. Flanger X/Y Channel Switching Each instance of the Flanger block stores two fully independent sets of parameters called X and Y.
  • Page 79 EFFECTS GUIDE – Sets the ratio of wet and dry (duplicated from the MIX page). TEMPO – Locks the flanger rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the rate will automatically be set to 2 Hz (BPM/60 = Hz). To ignore the global tempo set the tempo control to NONE.

  • Page 80: Formant [Frm]

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

  • Page 81: Gate/Expander [Gte]

    When set up to completely silence incoming signals below a certain threshold, the expander is called a gate. Each Axe-Fx II preset can use two fully independent Gate/Expander blocks. Figure 5-14 – The Gate/Expander Block THRSH –...

  • Page 82: Graphic Equalizer [Geq]

    16,000 Hz. Each band can boost or cut up to 12 dB. Simply select the desired band with the NAV buttons and use VALUE to vary the gain. Each Axe-Fx II preset can use four fully independent Graphic Equalizer blocks. The AMP block (p.39) has a built-in, 8-band graphic equalizer at its output, making it unnecessary to follow it with a separate GEQ.

  • Page 83: Megatap Delay [Mgt]

    The Megatap Delay is a 2.5 second, 40-tap delay line with parametric control of time, amplitude, and panning. This effect can be used to create interesting sonic patterns or to increase “density” before reverberant effects. Each Axe-Fx II preset can use one Megatap block. Figure 5-15 – The Megatap Delay Block...

  • Page 84: Mixer [Mix]

    The mixer lets you fine-tune level blends or use modifiers (p. 119) to crossfade between different effects or chains. Each pair of gain and balance controls corresponds to a row in the grid. For a more thorough description of how Axe-Fx II mixers work, see section 16.8, Mixology, on p. 155. Page 1 Parameters GAIN 1 –...

  • Page 85: Multiband Compressor [Mbc]

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

  • Page 86: Multi Delay [Mtd]

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

  • Page 87: 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 88: Plex Delay

    EFFECTS GUIDE DUCKER ATTEN – (Ducker Attenuation) Sets the amount by which the effect volume will duck (decrease). A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. Set to 0.0 to defeat the ducker.
  • Page 89 EFFECTS GUIDE Parameters DECAY TIME – Sets the amount of time required for the echoes to fade by adjusting the coefficients of the feedback matrix. Use caution, as high decay times can result in instability. DIFFUSION – Sets the amount of cross-coupling between delay lines. Higher values increase the density of the echoes and result in a more reverb-like sound.

  • Page 90: Plex Detune

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

  • Page 91: Quad Series Delay

    EFFECTS GUIDE Figure 5-20 – The Band Delay Multi Delay Type 5.20.6 Quad Series Delay The delay lines of the Quad Series Delay are connected end-to-end so that their times are compounded as the signal travels from one to the next. Each line has its own output tap, however, so the output of any line can also be heard as it enters the next delay in the series.

  • Page 92: Rhythm Tap Delay

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

  • Page 93: Diffusor

    EFFECTS GUIDE 3. By tapping a rhythm with the ENTER button and the function. LEARN The parameters for the Rhythm Tap Delay include those of the Ten-Tap Delay (5.20.7 above) plus the following: FEEDBACK – Sets the feedback level from the final repeat to the input of the delay line. You can use this in conjunction with the decay to control the overall decay behavior.

  • Page 94: Tremolo/Panner [Pan]

    “chopper” effects (use a square wave LFO!) Panning covers anything from slow swings to psychotic shudders. Each Axe-Fx II preset can use two fully independent Tremolo/Panner blocks. Figure 5-23 – The Pan/Tremolo Block Parameters EFF TYPE –...

  • Page 95: Parametric Eq [Peq]

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

  • Page 96: Phaser [Pha]

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

  • Page 97: Basic Parameters

    – Sets the span of the filters. Higher values separate the resulting notches by greater amounts. VIBE MODE – Technically, this parameter sets the all-pass frequency spacing. But it would probably suffice to say that if Jimi, Robin, and David had a favorite Axe-Fx II phaser setting, this would be it. The TYPE Doc v3.04...

  • Page 98: Pitch Shifter [Pit]

    – Allows you to control the “quiescent” current of the virtual light bulb used in Vibe Mode. Varying this parameter controls how “lumpy” the frequency sweep behaves. Unlike a real 'vibe, the Axe-Fx II compensates so that the center frequency doesn’t change with the bias, allowing easier control of the sweep range.
  • Page 99 EFFECTS GUIDE TYPE – Sets the sub-algorithm to use. INGAIN – Sets the input level to the block for “Aux Send” type control even when the block is in series. LOCUT FREQ HICUT FREQ – Sets the cutoff frequency of hi-and lowpass filters at the output of the pitch shifter(s).

  • Page 100: Detune

    EFFECTS GUIDE TRACK ADJ – This control allows fine-tuning of the pitch shifter “splice length.” For large shifts, this control can help improve the quality of the shifted note. Pitch Shifter Mix Parameters All Pitch Shifter types share a common MIX page with LEVEL BALANCE BYPASS MODE,...

  • Page 101: 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 5-27 – The Fixed Harmony Pitch Shifter Type INPUT MODE –...
  • Page 102 EFFECTS GUIDE the actual note played and the two shifted voices, three-note chords can be formed. Crank out some Maiden, Boston, or Thin Lizzy all by yourself! Figure 5-28 – The Intelligent Harmony Pitch Shifter Type VOICE1 DETUNE, VOICE 2 DETUNE –...
  • Page 103 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 104: Classic Whammy

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

  • Page 105: Crystals

    EFFECTS GUIDE 5.24.6 Crystals The Crystals Pitch Shifter is similar to the Fixed Harmony mode (p. 90) but is designed for special effects. It features much longer possible “splice” times inside the shifter, reverse shifting, and a flexible feedback architecture. Figure 5-31 –...

  • Page 106: 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 107: 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 108: 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 109: Quad Chorus [Qch]

    80s session player clean sound. It takes time to set up, but your efforts will be rewarded with incredibly lush and liquid chorus sounds. It is a four-voice chorus with a powerfully complex modulation generator. Each Axe-Fx II preset can use two fully independent Quad Chorus blocks. Figure 5-34 – The Quad Chorus Block The parameters of the Quad Chorus are divided across pages for Master, Chorus 1–4, Advanced, and Mix.
  • Page 110 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 111: Resonator [Res]

    Figure 5-36 –- The Resonator Block, Shown in its MONO INPUT MODE. Each Axe-Fx II preset can use two fully independent Resonator blocks. Parameters MODE – The Resonator can operate in one of two modes.

  • Page 112: Reverb [Rev]

    Early simulators incorporated metal springs and plates, but as with delay processing, reverberation effects were truly revolutionized by digital technology. The Axe-Fx II is one of the finest you are likely to have heard: realistic, lush, and dense, with the ability to emulate real spaces, vintage springs, classic digital effects, and more.
  • Page 113 Plate Simulates the sound of a vintage reverb plate characterized by smooth yet bright sound that is especially popular for vocals. The Axe-Fx II Plate simulation captures the "shiny" sound without all the complicated setup. Cathedral Surround your tone with heavenly reverb in this incredible simulation of a grand space.
  • Page 114 A Word on “Spillover” The Axe-Fx II Reverb is capable of “spillover,” which means that effect tails ring out when the effect is bypassed or when you change presets. For more on this subject, please see Setting Up Spillover on p. 159.

  • Page 115: Ring Modulator [Rng]

    Stevie Ray Vaughan's "Cold Shot" offers an example of the sound of this variant. The Axe-Fx II Rotary Speaker simulator reproduces all these classic sounds and offers more control. Also, it doesn't weigh 300 lbs. or require four guys to move it up a flight of stairs. Isn't technology great? Each Axe-Fx II preset can use two fully independent Rotary Speaker blocks.

  • Page 116: Synth [Syn]

    BALANCE, BYPASS MODE 5.30 Synth [SYN] The Axe-Fx II Synth block contains a dual-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.
  • Page 117 The global ADSRs or LFOs may be used to modulate a variety of functions. Each Axe-Fx II preset can use two fully independent Synth blocks. Figure 5-38 –- The Synth Block Parameters...

  • Page 118: Vocoder [Voc]

    EFFECTS GUIDE 5.31 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 119: 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 120: 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 121: Input Noise Gate

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

  • Page 122: Output Mixer

    EFFECTS GUIDE 5.35 Output Mixer Every preset includes a fully programmable output mixer, located on the OUTPUT tab of the LAYOUT menu. This provides four pairs of controls for setting the output level, balance for each of the four grid rows, and a master level adjustment control.

  • Page 123: Common Mix Parameters

    5.36 Common Mix Parameters Almost every block in the Axe-Fx II has a MIX page with parameters to determine how the output of that block contributes to the overall preset signal. On some blocks, these controls appear on other pages. Take a moment to familiarize yourself with these important controls and the differences between their settings.
  • Page 124 EFFECTS GUIDE THRU – When bypassed, the block is completely disengaged. None of its parameters have any effect on the sound; it behaves exactly as a shunt would in its place. With settings of “MUTE FX IN” or “MUTE FX OUT,” the controls will still affect BYPASS MODE LEVEL...

  • Page 125: Global Blocks

    Any of the 60+ block type instances on the Axe-Fx II can become global blocks, with 10 global memories for each of them. And, should you choose to REMOVE a link between a block and its global counterpart, this leaves both the global and the normal blocks fully intact and able to be edited independently of one another again.

  • Page 126: Saving To A Global Block

    Modifier settings are NOT saved with Global Blocks, but blocks that have an X/Y switch (p. 36) will have all parameter settings for BOTH states saved in the Global Block. Global Blocks are included in an Axe-Fx II SYSTEM backup or dump (p. 143). Without further ado, let’s look at a “how-to.”...

  • Page 127: Loading And Linking A Global Block

    MODIFIERS & CONTROLLERS 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 128: Loading Global Blocks Without Linking

    Blocks. This is useful, for instance, if you want to use a favorite setting as a starting point for a “disconnected” variant or if you want to share a preset with another Axe-Fx II owner who may not have the same Global Block settings as you.
  • Page 129 REMEMBER! Global links are not exported with individual presets, and presets in a bank will link to the local global settings stored in the System area of the Axe-Fx II. To back up presets with Global Blocks, you must also back up the System.

  • Page 130: Modifiers & Controllers

    Some, like the built-in LFOs and Envelope Follower, are “internal” to the Axe-Fx II, while others, like a connected expression pedal or a footswitch which sends a MIDI message, are referred to as “external” controllers.
  • Page 131 MODIFIERS & CONTROLLERS To Create a Modifier…  Select any controllable parameter ( ) and press the ENTER button to show the MODIFIER screen.  Select a to assign to the current parameter or SOURCE choose NONE to remove an existing modifier. ...

  • Page 132: Transformations

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

  • Page 133: Damping

    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 134: Auto Engage

    MODIFIERS & CONTROLLERS reflected by a little tremble in the sound. allows you to increase the hysteresis in this system, adding a DAMPING little “viscosity” or “elasticity” so changes in the parameter can’t accelerate as quickly as those in the source. At low settings, adds a little smoothing.

  • Page 135: Control Sources

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

  • Page 136: Adsr 1 & 2

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

  • Page 137: Envelope Follower

    Manual Knobs New to the Axe-Fx II are four front panel Quick Control knobs, detailed in section 4.3.1 on p. 36. When the unit is in EDIT mode, they function as hands-on controls to facilitate editing. When the unit is in RECALL mode, however, these knobs double as “MANUAL”...

  • Page 138: External Controllers

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

  • Page 139: Global Parameters

    STORED. The settings for all global parameters are included in a backup of the Axe-Fx II “SYSTEM” (See p. 143). Default assignments for all system parameters are listed beginning on p. 166. 8.1 Configuration Parameters The Configuration page (“CONFIG”) of the GLOBAL menu contains parameters that affect all presets at once.

  • Page 140: Output Parameters

    GLOBAL PARAMETERS 8.2 Output Parameters The OUT1 and OUT2 pages of the GLOBAL menu provide tone and level control tools for the two main outputs. PARAMETER Description BANDS 1–10 Output 1 and Output 2 are individually equipped with 10-band graphic equalizers for (+/- 12 dB) fine-tuning of the tone across all presets.

  • Page 141: Input/Output Parameters

    The Input/Output (“I/O”) Parameters section, accessed by pressing the front panel I/O button, contains six pages of menus used to configure audio, MIDI, and control settings for the Axe-Fx II. I/O settings are global, and changes made in this area take effect immediately without needing to be STORED. The settings for all I/O parameters are included in a backup of the Axe-Fx II “SYSTEM”...
  • Page 142 This determines how OUTPUT 1 signals will be processed after the output mixer of (STEREO/ the grid. This control makes it easy to use the same Axe-Fx II presets in a variety of SUM L+R/ stereo and mono performance or recording environments. The decision to use SUM COPY L>R)

  • Page 143: Midi Parameters

    MIDI OUT port. The default setting of ALL ensures that a connected MFC-101 Midi Foot Controller will be able to show the Axe-Fx II Tuner on the floor, and that its TEMPO LED will flash in time with the current Axe-Fx II system tempo.
  • Page 144 MIDI IN/OUT and MFC ports of the Axe-Fx II. When Set to OFF: 1. Inbound MIDI data at the MIDI IN or MFC ports is processed by the Axe-Fx II. 2. Inbound MIDI-over-USB data sent via the AXE-FX II MIDI OUT port of a connected computer is processed by the Axe-Fx II.

  • Page 145: Control Parameters

    To assign a controller to a desired item, select it and turn the VALUE dial to select a MIDI CC number, or choose “PEDAL” for the onboard jack. Set to NONE to disable remote control. The Axe-Fx II also has a “learn” feature that allows it to detect control sources automatically.
  • Page 146 +/-20 dB with a single sweep! AMP1 BYP Every block instance in the inventory of the Axe-Fx II except FB SEND, FB RETURN, AMP 2 BYP MIXER, and SHUNT can be set up with a global, dedicated MIDI CC assignment to CAB 1 BYP control its bypass state.

  • Page 147: Pedal Parameters

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

  • Page 148: Utilities

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

  • Page 149: Ir Capture

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

  • Page 150: Firmware

    RETURN) of the Axe-Fx II. 3. Connect OUTPUT 2 Left (FX SEND) of the Axe-Fx II to the input of your power amp input. 4. Connect the power amp’s speaker out to your speaker cabinet. Turn the preamp and power amp ON.

  • Page 151: Tuner

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

  • Page 152: Tempo

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

  • Page 153: Tempo To Use

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

  • Page 154: Backing Up And Restoring

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

  • Page 155: Restoring From A Computer

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

  • Page 156: Machine-To-Machine Transfers

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

  • Page 157: Firmware Updates

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

  • Page 158: Troubleshooting

    A: See the tutorial on page 157. Q: My Axe-Fx II is behaving erratically or “froze up” while I was using it. What should I do? A: Reboot the unit. If the trouble persists across a reboot, try holding RECALL while you boot the unit to reset the “edit buffer.”...
  • Page 159 It is also possible, however, that the preset in question uses Global Blocks that have changed. Q: When I play audio from the computer through the Axe-Fx II, the sound is processed by the effects, and I can’t hear the guitar. What’s wrong? A: Change the MAIN INPUT SELECT from USB to ANALOG (IN 1).

  • Page 160: Appendix

    APPENDIX 16 Appendix The following material is designed for reference and aims to maximize your enjoyment of the Axe-Fx II. Please also visit our online forum at http://forum.fractalaudio.com for discussions on these and many other subjects. 16.1 Shortcuts Overview The Axe-Fx II has several shortcuts and hidden features. These are summarized below.

  • Page 161: 60-Second Edit Guide

    APPENDIX 16.2 60-Second Edit Guide The following is provided as a quick start-up or reminder about editing on the Axe-Fx II. Figure 16-1 – 60-Second Edit Guide Doc v3.04...

  • Page 162: Understanding Preset Size Limits

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

  • Page 163: Lfo Waveforms, Duty, And Phase

    16.5 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 164: Tempo Cross Reference

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

  • Page 165: Mono And Stereo

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

  • Page 166: Mixology

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

  • Page 167: Humbuster™ Technology

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

  • Page 168: Setting Up A Wah Pedal

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

  • Page 169: Using An Expression Pedal On An Mfc-101

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

  • Page 170: Setting Up Spillover

    APPENDIX 16.11 Setting Up Spillover Spillover allows delay and reverb tails to ring out when an effect is bypassed or when you change presets. 16.11.1 Within a Single Preset The first case is the easiest to set up and requires almost no special settings. To enable tails to ring when an individual delay or reverb effect is bypassed (with a footswitch for instance), simply change its BYPASS MODE to “MUTE FX IN.”...

  • Page 171: Using Send And Return

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

  • Page 172: Loading User Cab Irs

    For a USB connection to the Axe-Fx II, this will be AXE-FX II MIDI IN and AXE-FX II MIDI OUT. 4. Transmit the file from the computer to the Axe-Fx II. The Axe-Fx II will not show a progress bar, but its MIDI IN LED will flash.

  • Page 173: Glossary & Resources

    Feedback is also sometimes known in the effects world as “regeneration” and, less aptly, “resonance.” Four Cable Method (4CM): A rig design where the Axe-Fx II is used both “in front of” and inside the effects loop of a tube amp. See p.
  • Page 174 Latency: In terms of effect processors, latency is an unwanted delay between what you play and what you hear. The Axe-Fx II latency is so low that it is equivalent to standing just a few feet away from a tube amp.
  • Page 175 SysEx: Short for System Exclusive. A type of MIDI data that can be understood only by the particular make and model of MIDI device that created it. On the Axe-Fx II, it is used for presets, banks, system backups, and User Cab IR files, and to allow real-time control of the unit via a connected MFC-101 or computer running Axe-Edit (q.v.).

  • Page 176: Axe-Fx Ii Bank & Preset Numbers Table

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

  • Page 177: Factory Default Settings

    APPENDIX 16.16 Factory Default Settings GLOBAL CONFIG Power Amp Simulation: Cabinet Simulation: Spillover: BOTH Global Amp Gain: Global Reverb Mix (offset): Global Effects Mix (offset): GLOBAL OUT 1 All bands flat (0.00) GAIN: Flat (0.00) GLOBAL OUT 2 All bands flat (0.00) GAIN: Flat (0.00) GLOBAL SCALES...
  • Page 178 APPENDIX (All 127 custom map entries) 1:1 (ex: 1=1, 2=2, 127=127) SysEx ID: 00 01 74 (cannot be changed) Display Offset: Ignore Redundant Program Change: Send Realtime SysEx Messages: ALL ( = Tempo and Tuner) MIDI Program Change Offset: External Controllers 1-12 initial value: USB Adapter Mode: I/O CONTROL Default CC assignments appear in the table below:...

  • Page 179: Specifications

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

  • Page 180: Midi Implementation Chart

    (AMP1, AMP2, etc.). True Number Bank Select and Program Change messages may be used to recall the 384 presets of the Axe-Fx II. The unit also supports custom program Bank Select Program Change change mapping utilizing a FROMTO table with 127 entries.

  • Page 181: Warranty

    This warranty only applies to products sold and used in the USA and Canada. Fractal Audio Systems shall not be liable for damages or loss resulting from the negligent or intentional acts of the shipper or its contracted affiliates.
  • Page 182 Axe-Fx II Input/Output Hardware & Parameters Guide Input 1 Main Out 1 Out 1 “The Grid” OUTPUT Instr Left Input Input 1 Out 1 Out 1 Global Global Instrument Out 1 PHONES LEVEL1 Select Source Mode Mode Phase Gain Boost/Pad...
  • Page 183 Axe-Fx II MIDI Routing and Parameters Outgoing MIDI generated by the Axe-Fx II is sent to all outputs (“dumps” are to MIDI or USB.) a. The MIDI OUT port. b. The MIDI out pins of the bidirectional MIDI IN port.
  • Page 184 AUDIO IN RIGHT AUDIO IN 2 LEFT AUDIO IN 2 RIGHT meeting Play audio tracks into the Axe-Fx II for Record the processed output of the USB 2.0 (or better) systems also allow Send MIDI from your sequencer to the...

Table of Contents