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Fractal Axe-Fx User Manual

Digital guitar preamp / effects processor
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Axe-Fx
Pre-Amp /

Effects Processor

User's Manual

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Summary of Contents for Fractal Axe-Fx

  • Page 1: Effects Processor

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

  • Page 2: Table Of Contents

    Table of Contents Table of Contents ................1 Foreword.................... 3 Introduction ..................5 What is the Axe-Fx ..................5 Concept ..................... 8 Getting Set Up ................. 10 Rear Panel ....................10 Front Panel....................11 Example Connections ................13 I/O Configuration ..................18 Editing....................
  • Page 3 Status ...................... 76 Reset ....................... 77 Firmware ....................77 Tips and Tricks ................78 Achieving ultimate tone ................78 Using Your Axe-Fx with a Guitar Amp............. 78 Using Your Axe-Fx Live................80 Interference ..................... 80 Maintenance.................... 80 Warranty Information ............... 81...

  • Page 4: Table Of Contents

    Keep power cord in good condition. Do not kink, bend or pinch. If power cord becomes damaged discard and replace. If not using your Axe-Fx for extended periods of time disconnect from AC mains. Protect the unit from rain and excessive moisture.
  • Page 5 Certificate of Conformity Fractal Audio Systems, USA, hereby declares on own responsibility that the following product Axe-Fx - Digital Guitar Preamp / Effects Processor That is covered by this certificate and marked with CE label conforms with following standards: EN60065...

  • Page 6: Foreword

    Foreword Shortly after the advent of the electric guitar and the amplifier, guitar players began to experiment with altering the basic sound of their instruments. Amplifiers soon began to incorporate spring reverb units and then tremolos and overdrive circuitry. Never satisfied, guitarists yearned for even more sonic possibilities and the effect pedal was born.
  • Page 7 All processing is done at 32-bit precision yielding uncolored, transparent sound. We hope you enjoy using the Axe-Fx as much as we enjoyed designing it. Over three years of development have gone into making what we hope is the quintessential effects processor.

  • Page 8: Introduction

    What you will see are modern, high-quality components that offer specifications and performance far exceeding any of the aforementioned devices. 1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel. Introduction 5...
  • Page 9 Routability: The Axe-Fx allows you to place effects in any order and in series or parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a preamplifier you can place the preamplifier in the effects loop and run effects both before and after your preamp.
  • Page 10 Almost all the effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi- Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp blocks you can achieve a true stereo, dual-amp rig for really huge sounds.

  • Page 11: Concept

    Concept The Axe-Fx works on the concept of an effects inventory and an effects grid. Figure 1. Axe-Fx Concept The effects inventory is a virtual stockroom of effects. Effects are removed from the inventory and placed into the effects grid. The grid is a four row by twelve column matrix.
  • Page 12 Figure 2. Effect Block I/O Structure The Output Mixer (the block labeled “OUTPUT” in Figure 1) sums the signals from the four rows. The Output Mixer allows mixing and panning of the four rows and overall level control. Figure 3. Output Mixer Introduction 9...

  • Page 13: Getting Set Up

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

  • Page 14: Front Panel

    O U T 1 C L I P - O U T P U T 1 that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floating- point numbers so clipping is virtually impossible. These values are then converted to 24-bit fixed-point numbers prior to being output.
  • Page 15 This button brings up the I/O Setup menu. This menu allows you to configure I / O - the various audio and control options of the Axe-Fx. See the I/O Section for more details. This menu contains various utility functions. See the Utility section for U T I L I T Y - more details.

  • Page 16: Example Connections

    Pressing this button bypasses the Axe-Fx. The LED on the button is lit B Y P A S S - indicating the bypass state. Press the button again to defeat the bypass. Pressing this button twice in rapid succession restores all parameters of the selected effect to their default values.
  • Page 17 This configuration also allows you to use the Axe-Fx amp simulations as well. In this way you can use the outboard preamp for certain sounds, and the Axe-Fx for others. Be warned, however, after using the Axe-Fx’s amp sims you may find your...
  • Page 18 Below are two possible configurations for using the Axe-Fx with a combo amp (or head and cabinet). In the first configuration the Axe-Fx is simply used in the effects loop of the amp. The second configuration is more complicated but allows effects both before and after the amp’s preamp stage.
  • Page 19 Since the system is full-range the Axe-Fx’s cabinet simulation should be active. The configuration shown would be typical of using the Axe-Fx straight into a FOH mixer. Your sound man would then send you your sound back into your stage monitor(s).
  • Page 20 Recording Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs (analog or digital) to a mixer, computer, etc. Getting Set Up 17...

  • Page 21: I/O Configuration

    D I G I T A L main input and slaves all clocks to this bit stream. The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be sure that its sample rate is 48 kHz.
  • Page 22 To set up the control for an item simply turn the value dial to select the MIDI continuous controller number (or desired pedal) that will control that item. The Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the desired item to control and press .
  • Page 23 Flanger 1 will be set to the value of the controller. Note that the Axe-Fx uses negative logic for the bypass state. A controller value of zero bypasses the effect and non-zero the effect is active. So if the controller value equals zero, effect off, controller value greater than zero, effect on.
  • Page 24 Latching footswitches alternate between contacts closed and opened each time the switch is depressed, they usually click. Internally the Axe-Fx stores a state for the pedal. For momentary footswitches depressing the switch toggles the internal state between 0 and 1. When set to latching the state of the contacts sets the internal state: contacts closed = 0, contacts open = 1.
  • Page 25 To calibrate a continuos pedal connected to press P E D A L 1 E N T E R P E D A L 1 C A L - and move the pedal through its full range several times. Press again when E N T E R finished.

  • Page 26: Editing

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

  • Page 27: Moving Effects

    Axe-Fx contains an auto routing feature. By pressing and holding E N T E R the Axe-Fx will automatically change an empty block to a shunt and place a route. Simply hold down until the chain completes routing to the output.
  • Page 28 Every effect in the P A N Axe-Fx has stereo outputs. With the control at 12:00 the signal is equal in both the left and right channels. Turning the control left or right pans the signal accordingly.

  • Page 29: Output Mixer

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

  • Page 30: Recalling Presets

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

  • Page 31: The Effects

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

  • Page 32: Filter

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

  • Page 33: Graphic Equalizer

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

  • Page 34: Parametric Equalizer

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

  • Page 35: Chorus

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

  • Page 36: Flanger

    Advanced Parameters Adjusts the bass response of the wet signal. The bass can be boost or cut B A S S - up to 12 dB. Adjusts the treble response of the wet signal. The treble can be boost or T R E B L E - cut up to 12 dB.
  • Page 37 A flanger is similar to a chorus but uses a shorter delay time and feeds back some of the effect signal back to the input. It was originally intended to duplicate the sound of two tape decks that were synchronized together and then pressing on the flange of one of the tape reels (hence the term flanging).

  • Page 38: Phaser

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

  • Page 39: Rotary Cabinet

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

  • Page 40: Wah-Wah

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

  • Page 41: Formant Filter

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

  • Page 42: Pan / Tremolo

    For example the vowel sound "eee" can be reproduced with a bank of narrow bandpass filters with various frequencies and amplitudes. The Axe-Fx Formant Filter allows "talk-box" effects without the fuss and muss of the real thing.
  • Page 43 The Axe-Fx Pan/Tremolo provides, as the name would imply, panning and tremolo effects. A panner moves the sound left/right in the stereo field while a tremolo varies the volume. Tremolo can be used to get that classic "surf" sound especially when used with some spring reverb.

  • Page 44: Delay

    Digital delays address all of these shortcomings while providing longer delay times. The Axe-Fx contains two different types of delay blocks. The regular Delay, described here, is your basic digital delay (with a few enhancements). We'll talk about the Multi-Delay later.
  • Page 45 The Delay also contains two delay time modulators that can be used to slightly modulate the delay time. These can be used to add depth to the echoes or to simulate an old tape-based echo unit. One can be used, for example, to simulate the slow fluctuation of a worn belt in a tape echo with the other simulating a worn capstan (wow and flutter).
  • Page 46 Locks the time to the global tempo. For example, if the global tempo is 120 T E M P O - bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat).
  • Page 47 Locks the delay time to the global tempo. For example, if the global T E M P O L / R - tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat).

  • Page 48: Multi Delay

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

  • Page 49: Band Delay

    Band Delay Parameters Scales all the delay times. Attach a controller to this for real-time M A S T E R T I M E - control of the delay times. Scales all the output levels. Attach a controller to this for real-time M A S T E R L E V E L - control of the echo levels.
  • Page 50 Sets the ‘Q’ of the delay line output filter. Higher values result in narrower bandwidth. The Axe-Fx uses a constant power algorithm so higher Q’s increase the gain of the filter. As such, use caution as overloads could result with some program material.

  • Page 51: Reverb

    A speaker and microphone were placed in the room and the reverberated sound was recorded. Digital processing excels at simulating reverberation and the Axe-Fx has one of the finest reverbs you've likely heard. A proprietary bandpass comb-filter algorithm provides extremely dense and smooth reverbs with no graininess or metallic qualities.
  • Page 52 Plate reverbs are characterized by their smooth yet bright sound and were popular in the 70's and 80's especially for vocals. The Axe-Fx Plate simulation captures the "shiny" sound of a plate reverb but without all the complicated setup. The Axe-Fx Reverb edit menu has three pages. The basic page has the most commonly used of the parameters below.

  • Page 53: Amp Simulator

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

  • Page 61: Cabinet Simulator

    L E V E L , P A N , B Y P M O D E - Cabinet Simulator The Axe-Fx contains 20 cabinet simulations. These simulations recreate the tonal characteristics of a variety of different speaker and cabinet configurations. More than just simple filters, the cabinet simulator actually captures the subtle frequency response variations inherent in a real guitar speaker.
  • Page 62 Parameters Selects the cabinet simulation. The following simulations are available: T Y P E L / R - • - 6x9 oval (like in an automobile) speaker used in some early 1 x 6 O v a l amplifiers. Match this up with a Plexi model and crank out some Zep. •...

  • Page 63: Drive

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

  • Page 64: Pitch Shifter

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

  • Page 65: Intelligent Harmony

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

  • Page 66: Octave Divider

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

  • Page 67: Stereo Enhancer

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

  • Page 68: Mixer

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

  • Page 69: Feedback Send / Return

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

  • Page 70: Controllers And Modifiers

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

  • Page 71: Lfo's

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

  • Page 72: Sequencer

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

  • Page 73: Pitch

    Pitch The Axe-Fx has a fast built-in Pitch detector. It is completely automatic and has no adjustable parameters. The value from the pitch detector is proportional to the frequency of the note played, higher notes give a higher value. If multiple notes are played at once the pitch detector will attempt to find the lowest pitch but may not be able to lock onto it.
  • Page 74 To remove a modifier select the parameter with the navigation buttons and press . Set the source to none then press exit. This will remove the modifier and E N T E R restore the parameter’s value to its stored value. Parameters This is the controller that will be used to control the parameter.
  • Page 75 The damping control is also effective when using an expression pedal to control a parameter. It can help smooth out the pedals response, especially if the pedal’s potentiometer has gotten “scratchy”. Detaching a Controller To detach a controller set the source to and press E X I T N O N E...

  • Page 76: Global Parameters

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

  • Page 77: Tuner

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

  • Page 78: Utilities

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

  • Page 79: Status

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

  • Page 80: Reset

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

  • Page 81: Tips And Tricks

    EQ can make a HUGE difference in sound. Try placing EQ before AND after the amplifier block. Subtle EQ adjustments can tighten up the sound or increase the depth. The Axe-Fx has a lot of EQ resources for just this reason. Take advantage of them.
  • Page 82 If you are connecting the Axe-Fx to a tube power amp as well, then once again the signal is effectively passed through a power amp twice (once in the Axe-Fx, once in the external tube amp).

  • Page 83: Using Your Axe-Fx Live

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

  • Page 84: Warranty Information

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

  • Page 85: Specifications

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

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