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Legal Notices
Fractal Audio Systems Axe-Fx II Owners Manual. Contents Copyright 2011 -
No part of this publication may be reproduced in any form without the permiss
Fractal Audio Systems, Axe-Fx, Axe-Fx II, Axe-Fx II XL, Axe-Fx II Mark II, G2 Mode
Multipoint Iterative Matching and Impedance Correction (MIMIC), UltraRes, V
trademarks of Fractal Audio Systems. Manufacturer names and product names
or registered trademarks of their respective owners, which are in no way assoc
Audio Systems. The names are used only to illustrate sonic and performance ch
Important Safety Instructions
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Certificate of Conformity
Fractal Audio Systems, USA, hereby declares on its own responsibility t
Axe-Fx II Digital Guitar Preamplifier and Effect
Axe-Fx II Mark II Digital Guitar Preamplifier and Ef
and Axe-Fx II XL Digital Guitar Preamplifier and Eff
That are covered by this certificate, and marked with CE label, confor
EN60065
(IEC 60065)
Safety requirement for mains operated electronic and relate
similar use.
EN 55103-1 Product family standard for audio, video, audio-visual, and e
apparatus for professional use. Part 1: Emission.
EN 55103-2 Product family standard for audio, video, audio-visual, and e
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Foreword
Thank you for purchasing an Axe-Fx II, one of the most powerful m
ever produced. Please take the time to read through this manual t
the Axe-Fx II.
Thinking back to a date when the first Axe-Fx units rolled off the li
have been a challenge to predict the scale of what was to follow
such a worldwide success that we would have a hard time keeping
would rally around the unit, from online Axe-evangeliststo the w
players; that wed soon be writing the foreword to a manual for th
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TABLE OF CONTENTS
Table of Contents
Foreword ...........................................................
Table of Contents ...............................................
Whats New.......................................................
1 Introduction ..................................................
1.1 What is the Axe FX II? .........................................
1.2 The Inventory/Grid Concept ................................
1.3 Connectivity and More ........................................
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Axe-Fx II XL and MFC-101 Mark III ................................................3.4.10
Axe-Fx II XL & MFC-101 Mark III: One Possible Big Rig..............3.4.11
4 Basic Operation and Editing ...........................
4.1 Presets ................................................................
4.2 The Grid ..............................................................
Inserting and Removing Blocks .....................................................4.2.1
Shunts ...........................................................................................4.2.2
Connector Cables ..........................................................................4.2.3
Moving Blocks on the Grid .............................................................4.2.4
Example Presets on the Grid ..........................................................4.2.5
4.3 Editing Sounds ....................................................
Quick Control4 3 1
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TABLE OF CONTENTS
Reverse Delay ...............................................................................5.6.6
Tape Delay .....................................................................................5.6.7
Delay Common Parameters ...........................................................5.6.8
5.7 Drive [DRV] .........................................................
5.8 Effects Loop [FXL] ................................................
5.9 Enhancer [ENH] ...................................................
5.10 Feedback Send [SND] & Return [RTN] ..............
5.11 Filter [FLT] ........................................................
5.12 Flanger [FLG] ....................................................
5.13 Formant [FRM] .................................................
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Intelligent Harmony .......................................................................5.24.3
Classic Whammy ...........................................................................5.24.4
Octave Divider ..............................................................................5.24.5 Crystals ..........................................................................................5.24.6
Advanced Whammy .......................................................................5.24.7
Arpeggiator ....................................................................................5.24.8
Custom Shifter ..............................................................................5.24.9
5.25 Quad Chorus [QCH] ..........................................
5.26
Resonator [RES] ................................................5.27 Reverb [REV] ....................................................
5.28 Ring Modulator [RNG] ......................................
5 29 R S k [ROT]
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TABLE OF CONTENTS
Transformations ............................................................................7.2.1
Scale and Offset ............................................................................7.2.2
Damping ........................................................................................7.2.3 Auto Engage ..................................................................................7.2.4
Program Change Reset .................................................................7.2.5
7.3 Control Sources ...................................................
LFO1 & 2 ........................................................................................7.3.1
ADSR 1 & 2 .....................................................................................7.3.2
Sequencer ......................................................................................7.3.3
Envelope Follower .........................................................................7.3.4 Pitch Detector ...............................................................................7.3.5
Manual Knobs ...............................................................................7.3.6
Scene Controllers ..........................................................................7.3.7
E t l C t ll7 3 8
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11 Tuner ..........................................................
12 Tempo ........................................................12.1 Setting the Tempo ............................................
12.2 Synchronizing Sound Parameters .....................
12.3 Tempo to Use ...................................................
12.4 Auto Delay .......................................................
12.5 Metronome ......................................................
13 Backing Up and Restoring ............................
13.1 MIDI/SysEx Backup and Restore......................
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TABLE OF CONTENTS
16.12 Setting up a Wah Pedal ..................................
Using the Onboard Pedal Jack ..................................................16.12.1
Using an Expression Pedal on an MFC-101 ...............................16.12.2
16.13 Setting Up Spillover .......................................
Within a Single Preset ...............................................................16.13.1
Across Different Presets............................................................16.13.2
16.14 Using Send and Return ..................................
Creating Feedback Loops .........................................................16.14.1
Extending the Length of Effect Chains ......................................16.14.2
16.15 Scenes ...........................................................
Selecting Scenes .........................................................................16.15.1
SETTING UP SCENES ..................................................................16.15.2
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Whats NewYears of R&D at Fractal Audio Systems have yielded our next-generation produ
power of our former flagship the Ultra, the Axe-Fx II unveils new state-of-the-a
array of great hardware and software features and improvements. This all-in-o
stunningly recreates complete signal chainsstompboxes, amps, cabs, mics, st
unprecedented power, flexibility, and control. The Axe-Fx II takes "real amp ton
offering the latest word on restoring digital to its rightful place as the superior s
Twice the Processing Power
Our philosophy is never to cut corners on processing power. Our new state-of-t
powerful platform on which to operate, so the Axe-Fx II features two 600 MHz
TigerSHARC Digital Signal Processors working in tandem. One is devoted solel
handles effects and system tasks. Mated to the processors is double the RAM o
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WHATS NEW
Easier-to-Use Front Panel Features
A new, custom-designed 160x80 backlit LCD provides improved readability and
addition to the main VALUE knob, new QUICK CONTROL knobs provide hands-oscreen parameters. Ten block typesAmp, Cab, Chorus, Drive, Delay, Flanger,
Wahwahare now equipped with two fully independent parameter sets called
feature allows one block to have all of its settings switched at the touch of a bu
remote control (during performance). The X and Y buttons also double as user-
can be set up to open the EDIT menus of any two blocks without going through
enables onboard backups of preset banks and system settings.
Axe-Fx II/Computer Integration with Onboard USB
The new onboard Audio Class 2.0 compliant USB interface provides great capab
integration. You can record high quality 48k/24-bit audio from the Axe-Fx II dire
process audio tracks from the computer through the Axe-Fx II, and use two-way
i f O USB 2 0 b i l l d b
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New FX Processing Features and Enhancements
The effects-processing capabilities of the Axe-Fx II have been vetted and endor
discriminating players in the world. The sound and features of our effects provirepresentations of many classic originals, plus the range to take you where no t
TYPE control to instantly set all other parameters, it is easier than ever to dial in
blocks. Types include tape and analog "bucket brigade" delay effects, script"
dimension chorus,jet flanger, vibe phaser, many classic wah pedals, whamm
Share Settings Across Multiple Presets with Global Blocks
Those familiar with Global Amps from previous Axe-Fx products will apprecia
Fx products will appreciate how this feature allows centralized control of a preseffect blockto a special memory area, then load it into multiple presets with
synchronized to the master. You can even update the master from any linked in
remove a link, this leaves both the original and the new copy fully independent
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INTRODUCTION
1Introduction
1.1 What is the Axe FX II?
The Axe-Fx II is an advanced digital preamp and effects processor for guitar, ba
replaces amps, speakers, microphones, stompboxes, studio processors, and mo
great tone solution in a single black box.
Inside, a virtual environment allows you to build your dream rig (hundreds of thinventory of hundreds of classic and innovative components. Select and arrang
only by the units ample CPU resources and your imagination. Dial in your sig
or go deeper with advanced parameters, then save presets for instant recall wh
recording.
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dimension chorus, tape delay, analog flanger, script 90 phaser, and ma
selection, however, you can go beyond the model. With deep recreations of the
great tone, we create not only a sample or profile but a multidimensional wholhear it for yourself.
To re-pose the original question then, what is the Axe-Fx II?
The Axe-Fx II is the new flagship processor from Fractal Audio, with far more po
than the former heavyweight champion, Axe-Fx Ultratwice the DSP in fact, al
detailed amp modeling, plus numerous other upgrades. It contains our best-ev
effect technologystate-of-the-art algorithms designed to sound and feel like tfully programmable, real-time controllable, multi-effects processor offering the
unrivaled flexibility and control options. It is a modeling platform upon which y
incredible guitar tonesable to replace entire rigs of traditional gear with a sin
these concepts a bit further:
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INTRODUCTION
1.2 The Inventory/Grid Concept
In the real world, we are limited by the equipment we own and by the fact thatcommitments. On the Axe-Fx II, these limitations are lifted, with the ability to t
cabs, effects, mixers, and more. You have the freedom to set them up, dial them
do it all again, as often as you like.
Axe-Fx II presets are created by selecting componentslike amps, cabs, or effe
them as blocks into the slots of a 124 grid. As with their real-world compo
together using cablesvirtual ones in this case. Blocks in adjacent columns m
with splits and merges as needed. Passive shunts carry signal through otherw
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The subject of creating and modifying presets on the grid is covered in detail in
Editing(p.27). The inventory of blocks available to every Axe-Fx II preset is liste
Amp (2) Filter (4) Mixer (2)
Cab (2) Feedback Return Multiband Compressor (2
Chorus (2) Feedback Send Multi-Delay (2)
Compressor (2) Flanger (2) Tremolo/Panner (2)
Crossover (2) Formant Parametric EQ (4)
Delay (2) Gate/Expander (2) Phaser (2)
Drive (2) Graphic EQ (4) Pitch Shifter (2)
Effects Loop Looper Quad Chorus (2)
Enhancer Megatap Delay Resonator (2)
In addition to the blocks listed above, each preset also includes a programmabl
Output Mixer(p.115). Of course, having components on the grid is just the beg
with parameters representing all the basic knobs you would expect to find, and
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OVERVIEW
2Overview
Review the following to familiarize yourself with the hardware features of the A
2.1 The Front PanelThe front panel shown is that of the Axe-Fx II XL. It is functionally identical to th
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INPUT/GTEcontains parameters for the Noise Gate and Instr
OUTPUT page contains a mixer for overall level control of a p
Select any block on the layout grid and press this button toPress repeatedly to cycle through EDIT menus of all blocks in the p
This menu contains pages for seven of the internal co
plus a Modifiers overview screen. SeeModifiers & Controllerson
This button toggles the bypass state of the currently
Double click BYPASS in any block EDIT menu to access SAVE/LOAD
This menu contains four pages: CONFIG, OUT1, OUT2,
CONFIGcontains parameters that globally affect the sound of
OUT1and OUT2each hold a 10-band graphic EQ and master
SCALESallows the creation of custom harmonies for use with
Engages the tuner (p.145)and displays its menu. Press
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OVERVIEW
2.2 The Rear PanelThe following section details the rear panel of the Axe-Fx II. Please note differe
models in numbered areas 22 (MIDI), 24 (MFC and FASLINK) and 25 (PEDALS)
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20.
This includes both S/PDIFand AES/EBUformat Input an
other pair of jacks can be active at any time depending on the setting o
in the I/O:AUDIO menu (p.134). These jacks transmit and receive at a
21.
This provides the means to connect the Axe-Fx II to a PC or Mac
and MIDI capabilities. See section2.3on p.12.Like the digital i/o, USB
22. jacksThe Axe-Fx II XL has separate dedicated MIDI IN, MIDI OU
Unlike a shared/soft MIDI THRU, the XLs dedicated MIDI THRU jack ad
to the MIDI IN PORT, and therefore does not pass signals from other M
when using an MFC-101 at the FASLINK or MFC port of an Axe-Fx II Xas a soft THRU by setting MFC ECHO TO MIDI OUT to "ON" (on the MID
The Axe-Fx II Mark II has a MIDI Out/Thru combo jack that transmits o
device. MIDI THRU is disabled by default but can be enabled on the M
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OVERVIEW
2.3 Computer Integration
USB provides every Axe-Fx II with a host of great features.
Minimum Requirements2.3.1
Windows Minimum Requirements:
OS: Windows 8.x, Windows 7 SP1, Windows Vista SP2 (All version
CPU: Intel Core 2 @1.6 GHz or better, or AMD equivalent
Memory: 1GB minimum
USB 2.0 support required
Mac Minimum Requirements:
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Capabilities2.3.3
The USB 2.0 class-compliant driver provides two channels of 48k/24-bit audio f
up to four channels from the Axe-Fx II to the computer, and two-way MIDI-ove
simultaneously. Note that even though the Axe-Fx II is fully class-compliant, yo
athttp://fractalaudio.com/support .
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OVERVIEW
Four Simultaneous Channels of 48k/24-bit Audio from the Axe-Fx
Four outputs, typically numbered 14, allow audio to be routed from the Axe-F
processed, or monitored.
USB/DIGI OUT SOURCEin the I/O:AUDIO menu (p.134)determines what is sen
Selecting OUTPUT 1 L+R sends the Axe-Fx II main output to the co
course, still routed normally to the rear XLR and unbalanced jacks
processed guitar.
Selecting OUTPUT 2 L+Rroutes output 2typically the FX loop bl
Selecting MAIN INPUT routes the main input (see MAIN INPUT SEL
A similar result can be obtained by using OUTPUT 1 with a sh
Remember to turn off the Input Noise Gate and set Output le
Switching INPUT 1 LEFT SELECT (p 134) to REAR allows you to
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3Connections
Before making connections, be sure to turn down the volume of your a
extreme care NEVER to connect the SPEAKER outputs of an amplifier to
damage one or both devices. If youre not sure, dont do it!
3.1 Setting Levels
For the Axe-Fx II to work properly, it is important that input and
output levels be configured correctly.
INPUT LEVELSare set with soft-knobs on the INPUT page of the
I/O menu. Adjust according to the level of input source material
until hot signals tickle the red LEDs on the front panel INPUT
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CONNECTIONS
3.2 The PEDAL Jack(s)
Note: the Axe-Fx II XL has twoonboard jacks. The Mark II has one.
Connect an expression pedal or footswitch to the pedaljack to control sound fu
the TYPE, and perform a simple calibration routine when using an expression pe
how to use the PEDAL page of the I/O menu.
Any type of external switch can be used, as long as its contacts make and break
sleeve on a regular 1/4 guitar cable. Expression pedals should have a linear res
between 10kand 100k, and must be used with Tip-Ring-Sleeve cables.
To control sound parameters, you must first assign the PEDAL jack to an EXTER
a MODIFIER. This topic is covered in section7: Modifiers & Controllerson p.
aboutExternal Controllers on p.131.
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3.4 Connection Diagrams
This overview will help familiarize you with the various inputs, outputs, and conThe diagrams that follow in sections 3.4.1through 3.4.10illustrate several real-
Note that the Axe-Fx II Mark II has a shared MIDI OUT/THRU, and that MIDI THR
menu. The Mark II also does not have a FASLINK port, so an MFC-101 would b
Ethernet/EtherCON or a FASLINK adapter.
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CONNECTIONS
Axe-Fx II into Self-Powered Full-Range Speakers3.4.1
COMPONENTS:
Guitar
Axe-Fx II
Self-Powered Full Range
Speaker(s)
Headphones (opt.)
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Axe-Fx II with Power Amp and Guitar Speakers3.4.3
COMPONENTS:
Guitar
Axe-Fx II
Power Amp and
Guitar Speakers
-OR-
Amp Head/Combowith FX RETURN jack
(power amp input)
and Guitar Speakers
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CONNECTIONS
Axe-Fx II Effects Loop3.4.4
COMPONENTS:
Guitar
Axe-Fx II, connected as
desired to
monitors/mixers/amps/
etc. (see other diagrams
for setup ideas)
Outboard Processor or
Preamp
Global Settings: See Below I/O Settings: See Below
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Axe-Fx II Four Cable Method (4CM)3.4.6
COMPONENTS:
Guitar
Axe-Fx II
Guitar Amp with a series
effects loop1and built-in
or separate Guitar
Speaker(s).
Second Amp for Stereo(opt.)
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CONNECTIONS
Direct to FOH plus Real Amps on Stage3.4.7
COMPONENTS:
Guitar
Axe-Fx II
Guitar Amp
with Guitar Speaker
Front-of-House P.A.
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Axe-Fx II as Effects Processor Only (with Guitar Amps)3.4.8
COMPONENTS:
Guitar
Axe-Fx II
Guitar Amplifier with
built-in or separate
speaker cabinet
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CONNECTIONS
Axe-Fx II as a Computer Audio Interface3.4.9
COMPONENTS:
Guitar
Axe-Fx II
Computer meeting
minimum requirements
(p.12)
Powered Monitors
Headphones (opt.)
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Axe-Fx II XL and MFC-101 Mark III3.4.10
COMPONENTS:
Guitar
Axe-Fx II
XLR Cable (for
FASLINK)
MFC-101 Mk III
MIDI Foot Controller
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CONNECTIONS
Axe-Fx II XL & MFC-101 Mark III: One Possible Big3.4.11
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4Basic Operation and EditingOnce you have set up your Axe-Fx II with speakers/amps/monitors or a pair of h
audition the factory preset sounds and learn to make changes by following this
For a super-condensed version, see the60-Second Edit Guide on p.161of the A
4.1 Presets
Each factory preset is a complete end-to-end guitar sound with amps, cabs, a
ready to perform. In the sections that follow, youll learn to view, edit, and crealets look at the ways to load the presets stored in the Axe-Fx II.
Presets are accessed from the PRESET page of the RECALL menu. There are 4 w
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BASIC OPERATION AND EDITING
4.2 The Grid
The grid, located on the EDIT page of the LAYOUT
menu, is a 12 4 matrixwhere effect blocks
are inserted and connected to build presets. The INPUT
appears at the left, the OUTPUT at the right. The display can fit a 5 4 section o
with the ability to scroll to off-screen areas using the buttons. A bottom sc
the overall left-to-right layout.
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The total number of blocks you can insert in any one preset is dictated by the fa
exceed around 94%. Each block has a cost, and when the sum of all blocks rea
prevents you from adding additional blocks. The Axe-Fx II is extremely powerfu
close to the limit. SeeUnderstanding Preset Size Limitson p.162for more on t
To CHANGE the type of an existing BLOCK
Use the buttons to select the desired block.
Turn the wheel. Available block names (AMP 1, CAB 1, etc
alphabetical order, and the selected block (if visible) will flash.
The Axe-Fx II offers multiple instances of most block types (exTo keep the list manageable, only the next-in-lineinstance
insertion menu, so AMP 2 is hidden until you have placed AM
When the desired block is shown press To cancel withou
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BASIC OPERATION AND EDITING
To INSERT a SHUNT into an empty grid location
Use the buttons to select the desired empty grid location.
Turn the wheel once to the right. SHUNT will be displaye
space will flash if not hidden.
Press . To cancel without inserting, press instead.
To CHANGE any other block type into a SHUNT
Select the desired block.
Press.
SHUNT will be displayed in a popup, and the selecte
Press .To cancel without inserting, press instead.
Connector Cables4.2.3
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The Rules of Axe-Fx II Cables
No cables = No sound. Even one missing link will break the entire
Signal always flows from LEFT to RIGHT.
A cable MUST originate from a BLOCK or a SHUNT. Empty location
If you try to connect to an EMPTY location, a SHUNT will be create
You can ONLY connect to blocks in the next column to the right.
The represents the origin of a connector cable.The shows valid possible destinations.
The symbol shows destinations that are illegal/una
Any columns farther left or right would also be illegal/If the were in a different ROW, every would stil
Cables are created AUTOMATICALLY between the INPUT and any
Cables are created AUTOMATICALLY between the OUTPUT and an
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BASIC OPERATION AND EDITING
Use the UP or DOWN buttons to select the other end of the
Press ENTER. To cancel without removing, press EXIT instead.
A Shortcut for Spanning Empty Spaces
This shortcut allows you to span multiple empty grid columns with a series of a
technique is especially useful when you have placed your last effect block and n
you want to fill an empty row with shunts.
Select any block that is followed by a series of empty spaces.
PRESS and HOLD the button. The intervening spaces will b
and connected with cables.You can also use this shortcut for small runsto connect any blocks with one o
between them, but be careful: any existing cables encountered along the way w
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Example Presets on the Grid4.2.5
Four sample presets are shown below as visualized in Axe-Edit, the companion
Review the diagrams to get a sense of how presets are constructed and how th
EXAMPLE 1: Simple Amp ToneIn this extremely simple preset, an AMP and a
ahead tone. Shunts and connectors (which appear in Axe-Edit almost as one co
to the AMP, the AMP to the CAB, and the CAB to the OUTPUT.
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BASIC OPERATION AND EDITING
EXAMPLE 3: Dual Amp PresetThis preset shows a dual-amp rig. A series of ef
begins the chain, then the signal is split into two amps and two cabs. Signal is p
block BALANCEcontrols and then merged to feed stereo post effects. A Multiba
dynamics, while spaces in the chain leave plenty of room for future expansion.
Figure 4-8Dual Amp Preset
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4.3 Editing Sounds
The blocks of the Axe-Fx II represent diverse types of real-world equipment. In
devices are equipped with different controls, blocks also typically have many ad
parameters.Parameter settings determine precisely how an effect will sound. T
display of the Axe-Fx II. The system of parameters and pages for any block is ref
To Open the EDIT Menu for Any Effect Block
With a preset loaded in normal mode
Press to display the GRID.
If the GRID is not shown at first, press to reach the EDIT ta
Use the buttons to select the desired
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BASIC OPERATION AND EDITING
Quick Control4.3.1
The functions of the , , and knobs depend on which A
or function is selected.
In the main screen, the A knob selects SCENES. See section16.15
In every EDIT menu1, A, B, C and D are dynamically mapped to four on-scr
parameters for easy editing of multiple controls without the keys. M
indicated by a small A, B, C or D above or to the left of on-screen paramet
When editing Amp TYPE, A, B, and C are conveniently mapped to DRIVE, M
While on the MANUAL page of the menu, A, B, C and D work a
allowing control of assigned parameters. See p.131. While STORING a preset, A, B, C and D are used as shortcuts to enter text
4.4 X/Y Switching
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X-Y / Y-X Copying
You can copy all of the settings from X to Y, or Y to X, by double tapping the but
to,and then pressing to confirm. So, to copy X to Y, double-tap and th
double tap when you dont want to copy, press to cancel.
X/Y Quick Jump4.4.1
The X and Y buttons also double as user-definable Quick-Jump keys. These allow
your two favorite blocks from almost any screen without needing to drill down
instance, set X to jump to AMP1, while Y might be assigned to bring up the
Quick-Jump is disabled if you are already in the EDIT menu of another block (inc
sub menus), or if you are in the process of SAVING (where X and Y are used for
Quick Jump settings are assigned in the X/Y page of the I/O menu, detailed on p
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BASIC OPERATION AND EDITING
4.7 Saving Changes
After making various changes, you will undoubtedly want to save the results of
To store a sound in place, without changing its name or location
Press to show the STORE screen.
Press to initiate the process, and again to confirm.
The message STORED! is displayed when the operation completes.
To store a sound to a new location or with a new name
The Axe-Fx II has hundreds of numbered preset memory locations. It is possible
any location. It is also possible to change the NAME of a preset before you stor
Press to show the STORE screen
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5Effects Guide
The Axe-Fx II offers 34 different basic block types that can be combined freely uresources to create your own presets. An alphabetical listing of block types foll
5.1 Amplifier [AMP]
The Ampblock reproduces the sounds of an impressive array of vintage and mo
with 185+ different typesbased on stock, custom and hybrid models. You get
II using only the basic drive and tone controls on PG1 and PG2 of the edit menu
exactly like those on actual amp.
The first few pages of easy knobs cover everything you need to dial in your amp
parameters offer deeper control, but dont fear the unknown: values are set r
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EFFECTS GUIDE
Basic Amp Parameters (TYPE, PRE, PWR, EQ Pages)5.1.1
Amp Type
Amp types are presented in an alphabetical list. A complete table appears on pMASTER, and LEVELparameters directly from the TYPEpage by using the A, B, an
A note on DRIVE controls: there are three possible drive configurations which vary bas
amps have only an INPUT DRIVE control (i.e. BRIT 800, DELUXE VERB.) Other types ha
(e.g. USA LEAD, ODS-100 LEAD.) Finally, those models that simulate jumpering the in
50W JUMP, HIPOWER JUMPED) have separate individual TREBLE DRIVE and NORMAL
Input Drive Controls for their respective channels.
INPUT DRIVE(aka Drive) sets the amount of preamp gain/distortion
MASTER(see below), INPUT DRIVEdetermines whether the sound will be cle
overdriven or completely distorted
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BRIGHT SWITCHMany amplifiers contain a treble peaker, included
hard-wired. Every amp TYPEon the Axe-Fx II includes this control (even if th
effect may be subtle or quite pronounced depending on the amp TYPE. This
setting (p.54). If the original amp had no bright circuit, BRIGHT is OFF by def
apply circuit values suited to an amp of that general type. If the amp has a
default BRIGHTstate is ON. To turn the bright switch ON or OFF, use the
and press ENTER. The BRT switch beneath the knob will fill to indicate th
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NEG FDBKThis controls the amount of negative feedback, or damping,
Higher values give a tighter and brighter sound but can sound harsh at very
values give a loose and gritty sound and feel. Like many other power amp p
set to an appropriate value whenever you change the amp TYPE, but it can
example, you might dial in some negative feedback on a Top Boostto giv
American sound while still retaining the preamp voicing.
MASTER VOLUMEThe almighty Master Volumeis a very important c
and dynamics characteristics of the power amp simulator, and its setting is
Master is turned up, the entire character of the amp will change. The tone
the sound, and the sound will have more bloom and touch sensitivity. Se
correspond to knob positions on the amp being modeled. With a little expe
Fx II amps, you will learn to appreciate the qualities of different DRIVEand
to find the great tones offered by different combinations.
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HI FREQ, HI RESA loudspeaker voice-coil presents an inductive load to
frequencies. This inductive load, in conjunction with the output transforme
frequency resonance at the specified frequency.
XFRMR LF, XFRMR HFThese set the output transformer bandwidth.
SPEAKER DRIVEThis parameter simulates distortion caused by pushin
the MASTER,which determines how hard the actual power amp is pushing.
XFRMR DRIVEControls how hard the virtual output transformer is driv
smaller, more easily saturated transformer.
Amp Dynamics Parameters5.1.3
SUPPLY SAGThis controls power amp dynamics. Higher settings simula
and thus greater tube plate voltage droop for a more compressed feel T
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of power amp distortion is achieved, then adjust matching until the charac
The various LF and HF resonance parameters interact strongly with this par
with those as well when crafting a tone.
Advanced Amp Parameters5.1.4
INPUT SELECTThe AMP block processes audio in mono. This control d
signals will be processed. You can input only LEFT or RIGHT channels, or SU
MODELING MODE Formerly Grid Modeling, this parameter has be
offers the following choices:
AuthenticReplicates a tube amplifier with the utmost accuracy.
SmoothSets Triode Hardness to minimum, essentially creating a
conduction in the power amp. This removes some of the nasty d
Ideal Removes most of the warts from the modeling which inc
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characteristics are adjustable via the Dynamic Damping parameter. The val
you set the TUBE TYPEparameter on the PWR page.
DEFINITIONThis control is a basic tilt EQ which adds highs/cuts lows
amp input, so its effect is heard before preamp distortion or a front-end to
CHARACTER, CHARACTER FREQ These two parameters control a p
which adjusts tone dynamically in a very musical way. CHARACTER FREQUEN
filter while CHARACTERsets how pronounced the effect is. To darken the to
set the frequency to 10000 Hz and the amount to a negative value. A posit
effect of brightening the amp when pushed. CHARACTERdefaults to zero w
BRIGHT CAPSets the value of a virtual capacitor to determine the son(above). Increasing this will make the preamp brighter and vice versa.
MV CAPThis sets the value of the bright cap across the Master Volume
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DEPTH FREQAlters the center frequency of the amps DEPTHand DYN
defaults to an appropriate value whenever you change the amp TYPE, but c
POWER TUBE BIASSets the bias point of the virtual power amp. Low
operation. Higher values approach pure Class-A operation.
NEG FEEDBACKThis is a duplicate of the same control on the ampsP
POWER SUPPLY TYPE, AC LINE FREQSelects between AC and DC
rectification and resulting supply ripple are modeled, and the line frequenc
values of Sag with low B+ Time Constant values can cause ghost notes w
real amp). Lower B+ Time Constant values will make the amp feel faster
MAINS IMP. (SAG)This is a duplicate of the SUPPLY SAGparameter on
Preamp modeling uses screen voltage from power amp incalculations ra
This improves feel as preamp voltage drops with power amp sag The effec
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POWER AMP LO CUT, POWER AMP HI CUTThese filters are pro
the virtual power amp. Note that in addition to applying a voicing filter, the
(Basic Amp Parameters,beginning on p.40)will also automatically set valu
CATHODE THRESHThis is the same as the CF COMP parameter on the
of compression in the virtual cathode follower.
CATHODE TIMEWorks with the CATHODE THRESH and RATIO, setting th
CATHODE RATIOSets the maximum amount of compression with low
TRIODE HARDNESSControls how rapidly the power tubes enter satu
aggressive character while lower values give a smoother breakup. This paravalue for each amp TYPE.
PREAMP BIASControls the bias point of the last triode (cathode follow
preamp Depending on the bias points of the previous stages this can alter
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5.2 Cabinet [CAB]
The SpeakerCabinetSimulator(Cab for short) recreates the tonal characteri
cabinet configurations. The Axe-Fx II XL contains over 155 built-in factory cablocations for loading custom User Cabfiles. (The Mark II contains 130+ factor
also offers room and microphone simulations (including sub-millisecond delays
Factory cabs include custom creations by Fractal Audio Systems, selections fromOwnHammer, RedWirez, and Kalthallen, TheAmpFactory, plus contributions fro
James Santiago, and loudspeaker design engineer Jay Mitchell.
The cab block supports both standard (2048) resolution IRs, and newer UltraRe
proprietary format that enhances the resolution of an IR without added CPU bu
Each Axe-Fx II preset can use two fully independent Cabblocks.
Cab X/Y Channel Switching
E h i t f th C b bl k t t f ll i d d t t f t
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To use a stereo Cab block with two amps, s
fully left, the balance control for the other
MODEset to STEREO. See Stereo Cab Mo
information.
CAB (TYPE)Sets the cabinet type by selecting from FACTORY and U
the table in section on p.158.The four SCRATCHPAD locations found at the
allow you to audition cabs before committing them to a memory location
when user cab memory is full, or when you are using Cab-Lab (available fro
Please note that the contents of the SCRATCHPADs are cleared every time
SPKR SIZEThis control scales the IR to simulate shrinking or enlarging
be used to shift where the tone sits in a mix, or to create dramatic effect
sound most natural SPKR SIZE is not offered in STEREO modes or when the
Figure 5-4 Two Amp Blocks into a STEREO Cab
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MIC SPACINGIncreases delay times inside the room reverb simulation
room microphone from the sound source.
LOW-CUT/HI-CUTAdjusts the cutoff points of first order high-pass an
cut to reduce bass boom. Decrease the high-cut to darken the tone.
MOTOR DRIVEThis models the effect of high power levels on the tone
parameter controls the relative drive level and, therefore, the intensity of t
AIR, AIR FREQ Adds air and sets the cutoff frequency to determine
Stereo Cab Mode Parameters
When the MODE of the CAB block is set to STEREO, independent instances of
for left and right.
CAB (TYPE) L/R
MIC L/R
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5.3 Chorus [CHO]
A chorus unit creates one or more delayed copies of the input signal and modu
layered effect of different voices. Used subtly, the effect can be ambient and liq
can produce a vibrato or Leslie effect. The Axe-Fx II offers a high-quality, mul
producing anything from exceptionally smooth ensemble effects to a wildly det
Each Axe-Fx II preset can use two fully independent Chorusblocks.
Figure 5-5The Chorus Block
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Advanced Chorus Parameters
DELAY TIMEAdjusts the minimum delay time from 0.050.0 ms. Lowe
sound while higher values go beyond double tracking towards slap back.
LOW CUTAdjusts the cutoff frequency of a high-pass filter at the outpu
control removes bass frequencies and can be useful to create chorus effect
HIGH CUTAdjusts the cutoff frequency of a low-pass filter at the outpu
Decreasing this value creates a darker chorus effect reminiscent of an age w
reproduce the full frequency spectrum. Lower this to achieve those sounds
LFO PHASEAdjusts the phase differential between left and right LFO w
noticeable effect on the stereo width of the chorus.
LFO TYPESets the shapeof the modulation. Sine and Triangle are the
Note: Whenever the number of voices is set to more than two the LFO type
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5.4 Compressor [CMP]
A compressor reduces the difference between loud and soft sounds by reducin
loud signals. The reduction is triggered when the input signal exceeds a set threthe volume of loud sections, it can simultaneously boost overall level for greate
In guitar pedalboards, a compressor is often placed at the start of an effects ch
of high-gain distortion can increase noise or squealing). In the recording studio,
towards the end of a signal chain to smooth irregular levels. The Axe-Fx II provi
compressors (detailed below).
Compressor X/Y Channel SwitchingEach instance of the Compressor block stores two fully independent sets of par
between these allows you to change all block settingsinstantlyat the touch
any Modifierassignments). SeeX/Y Switchingon p.36for more information.
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AUTOTurns the Dynamic Attack filter on or off. Turning this switch ON
rate according to the program material; the compressor will respond to fas
LOOK AHEADDespite fast attack times, a compressor can fail to catch
introduces a short audio delay so the compressors gain control stage has s
detector, which is side-chained with nodelay. Look ahead can reduce pop
compression is used on very percussive sources.
MIXSets the ratio of wet (compressed) and dry sounds. This should norm
THRSH(Threshold) Sets the level at which automatic volume reduction
exceeds the threshold, the compressor reduces output volume as set by th
PEDAL, the THRESHOLDis hidden and automatically set to minus infinity
SUSTAIN/RATIOIn PEDAL typecompression, SUSTAINincreases co
t d l k i I STUDIO t i SUSTAIN i l d b RA
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MAKEUPAutomatic Makeup gain, when turned ON, compensates the o
loudness at the current threshold and ratio. The LEVEL control can then be
DETECTSelects whether the compressor will use RMS (Root Mean Squ
detection. RMS detection is smoother and generally used to even out the l
long period of time. Peak detection, commonly used with guitar, is useful f
combines the best attributes of both: the speed of a peak detector and the
FILTERSets the frequency of a high-pass filter on the input of the comp
filter frequency can help prevent low frequencies from pumping the enti
SCSELSIDECHAIN SELECTdetermines which signal is used to feed the com
normal setting and selects the compressors input (sum of the rows feedin
input from a designated row, or either of the main inputs. The BLOCK L and
the compressor follows an effect with one side out of phase (delay, chorus
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5.6 Delay [DLY]
The Axe-Fx II Delayblock lets you create classic, modern, and innovative echo e
and then plays it back later in time, creating the effect of an echo...echoechoused for this purpose, but these had sound quality, noise, and reliability concer
provided an alternative to tape but had shortcomings of their own. The advent
for delays with pristine sound, longer times, and superior flexibility, plus the ab
simulate the favorable nostalgic qualities of tape, analog, and even lo-fi digita
Each Axe-Fx II preset can use two fully independent Delayblocks. Dontforget t
blocks (p.78), the one Megatap Delayblock (p.75), and the new Looperblock
Delay X/Y Channel Switching
Each instance of the Delay block stores two fully independent sets of paramete
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MSTR FDBKMaster Feedback scales any and all feedback parameters o
range of this control is 0200%, making it possible (easy, in fact) to overlo
MIXThis is a copy of the MIXcontrol on the MIX page, placed here for e
balance without page flipping.
LEVELThis is a copy of the LEVELcontrol on the MIX page, placed here fo
volume without page flipping.
Mono Delay5.6.1
The Mono Delaycan be used for a variety of great sounding standard and exot
the inputs into a single delay line.
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Please be aware that because the MONO delay contains only one delay line, th
MOD page have no effect. Similarly, the LFO TARGETparameters must be set to
occur.
Stereo Delay5.6.2
This stereo-in/stereo-out delay has the convenience of common controls for m
Figure 5-9The Stereo Delay Block
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Dual Delay5.6.3
This is a stereo-in/stereo-out delay with fully independent controls for most L-R
Figure 5-10The Dual Delay Block
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Ping-Pong Delay5.6.4
The echoes of this easy-to-use Ping-Pong Delayalternate between left and righ
Delay uses the same algorithm as the Stereo Delay (p. 66), except the ECHO PA
SPREADControls stereo width by setting the pan position of the delay o
mono (0%) to swapped hard pan (-100%).
RATIOAllows altering the time difference between the two echoes of th
Sweep Delay5.6.5
The Sweep Delayuses the same algorithm as the Stereo Delay (above, p. 67), bbandpass filter after the outputs of the delay.
START FREQ STOP FREQ These controls set the range of the filter sw
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RUNWhen this is turned ON, the reverse playback process is active and
will mute playback (though any samples in the buffer will still silently run o
operated with a modifier (attached, for example, to a footswitch) to stop a
TRIG RESTARTWhen this is set to ON the reverse playback restarts w
If set to OFF, playback continues from the current position. The combina
used to precisely align reversed passages to certain moments in a perform
reversing to the groove.
Tip: Ifyoure working with a sequencer, assign an EXTERNAL controller and re-trigge
TEMPOLocks the TIME parameter in rhythmic relation to the global tem
theMONO DELAYtype (above) for more about the relationship between B
XFADE TIMESets the crossfade time between reverse audio snippets.
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HEAD 1 TIMESets the distance between the virtual record and play he
heardwill be shorter ifMOTOR SPEED is increased above 1.0, or longer if b
HEAD 1 TEMPOLocks theHEAD 1 TIMEparameter in rhythmic relatio
TEMPO section under theMONO DELAYconfig (p. 66) for more informatio
HEAD 2 RATIOThe Axe-Fx II tape delay has two heads, or taps on th
position of the second playback head from zero to a maximum of 100%t
close to 100% (e.g. 95%) can widen the echo sound, while values expressin
2:8 (87.5%), 3:4 (75%), 2:3 (66%) or 1:2 (50%) create rhythmic grooves.
LEVEL 1, LEVEL 2 These set the output level of each of the playback he
FEEDBACK 1, FEEDBACK 2These set the amount from each playbac
recording head to create feedback or regeneration. Higher values will cre
over time. Because each head replays its own feedback signalsplusthose o
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The MOD page also contains the ducking controls. Ducking causes the wet lev
when the level of your playing goes above a set threshold. Then, when you play
volume increases so that the echoes fill the spaces.
DUCKER ATTENAttenuation sets the amount by which the effect voluof 20 dB, for example, will decrease the echoes by 20 dB when the input le
0.0 to defeat the ducker.
DUCKER THRSHLDSets the trigger level of the ducker. If the input sig
signal will be reduced by the amount set with the ATTENUATION control.
DUCKER REL TIMESets how long it takes for the delay signal to return
below the threshold. A short value here causes the ducked echoes to retur
stop playing. Longer times cause the levels to swell back more gradually.
Finally, the MOD page contains some other cool parameters.
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5.7 Drive [DRV]
The Driveblock replicates 29 different, classic stompbox effects, ranging from s
(ODor DRIVE) types are based on a cold-cathode tube model and give a waBOOST types dont distort much unless the drive is set quite high. BOOST types
useful for pushing an amp. Distortion types (DIST) are based on a variety of
give classic distortion tones. The fuzz (FUZZ) types are based on a hard-clippin
Drive effects include the basic controls you will find on their real world equivale
plus advanced controls like SLEW, BIAS, CLIP TYPE,and more, enabling you to cre
tone-shaping. Each Axe-Fx II preset can use two fully independent Driveblocks
Figure 5-12A stylized block diagram of the DRIVE blo
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Full OD Based on the Fulltone Fulldrive OD Pedal.
Blues OD Based on the Marshall Bluesbreaker.
Shred Dist Based on the Marshall Shredmaster.
M-Zone Dist Simulates the Boss Metalzone, popular for extreme gain sett
Bender Fuzz Based on the classic Tonebender circuit.
BB Pre Based on the Xotic Pedals BB Preamp.
Face Fuzz Based on Dallas Arbiter Fuzz Face.
Master Fuzz Based on the Maestro Fuzztone, aka Satisfaction fuzz.
Bit Crusher Based on a black box we found lying in the trash outside Studio H
Eternal Love Based on a LovepedalEternity.Esoteric ACB Based on the Xotic Pedals AC Booster.
Esoteric RCB Based on the Xotic Pedals RC Booster.
Zen Master Based on Hermida Zen Drive.Tube Drv 4-knob Based on the Chandler Tube Driver (4-knob version)
FAS LED-Drive Designed by Fractal Audio Systems based on LED clipping.
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BASS/TREBLEThese adjust the low-end and high-end of the built-in eq
MID, MID FREQSets mid-boost or cut (+/- 12 dB) and frequency for th
5.8
Effects Loop [FXL]
The Axe-Fx II has a full-stereo effects loop that can be used to insert outboard h
chain of a preset. Any signal at the input of the [FXL] block is passed to the phys
Axe-Fx II. Any signal received at the physical INPUT 2 (FX RETURN) appears at
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The FX Loopblock has a MIXpage with LEVEL, BALANCE,and BYPASS MODEpa
Parameterson p.116for more information.
Each Axe-Fx II preset can use one FX Loopblock.
5.9 Enhancer [ENH]
The Enhanceroffers two modes to increase spatialization or stereo separatio
Modern Enhancer Parameters
The Modern Enhancercreates a widening effect through frequency-based sepa
comparison to the Classic Enhancer, it does not introduce the risk of phase can
later summed to mono, and therefore poses less of a risk for use in presets.
WIDTH D i h h f h ff h i h b d f f
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5.10 Feedback Send [SND] & Return [RTN]
The Feedback Sendand Feedback Returnblocks allow you to route signal from
bending the rule that it must only flow from input to output. No connection wilbut signal nonetheless flows from the output of the SEND to the input of the RE
for either to function. The primary function of the Send and Return blocks is to
the feedback loop of a delay. The MIX of the delay in the loop is normally set to
recirculation results in instability.
Warning:Use caution with the Feedback blocks, as you can easily p
internal clipping and/or very high sound levels, which may damage
block MIXat 100%, set its LEVELcontrol to minus 80 dB and bring it squealing or other signs of instability, return the LEVELcontrol to minimum and
causes of instability. SeeUsing Send and Returnon p.171 for creative applicat
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PAN L, PAN RThese controls allow you to adjust the placement of the
stereo width adjustment or stereo-to-mono conversion.
BYPSets the bypass mode of the block. SeeCommon Mix Parameterso
5.12 Flanger [FLG]
The sound of a Flangercan range from
subtle chorusing, to swooshing jet plane, to
robotic drainpipe. The effect was intendedto duplicate the sweeping comb-filter
sound created when one of two tape decks
playing synchronized material is shifted out
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FDBKFeedback sets the amount of wet signal fed back to the input. Ext
intense quality as it produces sharp resonances in the frequency response.
wet signals are out of phase with the dry, creating sounds with a different
positive feedback.
Note that extreme feedback at minimum flanger DRIVEsettings will cause a
MIXSets the ratio of wet and dry (duplicated from the MIX page).
TEMPOLocks the flanger rate in rhythmic relation to the global tempo.
1/4and the global tempo is 120 BPM, the rate will automatically be set t
global tempo set the tempo control to NONE.
Advanced Parameters
THROUGH ZEROSetting this to ON adds a delay to the dry path equal
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Flanger Mix Parameters
The Flanger block also has a MIXpage with LEVEL, BALANCE,and BYPASS MOD
SeeCommon Mix Parameterson p.116for more information.
5.13 Formant [FRM]
Although the wah effect was originally intended to mimic
the sound of the human voice, it obviously falls a little
short in this regard. The talk-box, a system which playsguitar sounds through a tube into a real human mouth,
comes far closer to the sound of actual speech, but is
d bl ld h h d l h il
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5.14 Gate/Expander [GTE]
The downward Expandermodule is sort of a reverse compressor that increas
sounds and soft sounds by lowering the volume of soft sounds even further. Wincoming signals below a certain threshold, the expander is called a gate.
Gate/Expander X/Y Channel Switching
Each instance of the Gate/Expander block stores two fully independent sets of
between these allows you to change all block settingsinstantlyat the touch
any Modifierassignments). SeeX/Y Switchingon p.36for more information.
Each Axe-Fx II preset can use two fully independent Gate/Expander blocks.
Figure 5-15The Gate/Expander Block
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5.15 Graphic Equalizer [GEQ]
The Graphic Equalizeris a multi-band equalizer capable of running in 5,7, 8, or
Each instance of the Graphic EQ block stores two fully independent sets of parabetween these allows you to change all block settingsinstantlyat the touch
any Modifierassignments). SeeX/Y Switchingon p.36for more information.
Each Axe-Fx II preset can use four fully independent Graphic Equalizerblocks.
The TYPEdetermines the number of bands:
Band 1 Band 2 Band 3 Band 4 Band 5 Band 6 Band 7
10 Band 31 63 125 250 500 1000 2000 8 Band 80 160 320 640 1250 2500 5000
7 Band 100 200 400 800 1600 3200 6400
5 Band 80 240 750 2200 6600
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PLAYThis switch has two functions: use it to stop recording and begin p
playback that is already rolling. A momentary switch can be assigned to PLA
ONCEToggles auto-stop at loop-end, so that if playback is running, th
when it reaches the end of the loop. If playback is already stopped, ONCE wloop and then stop. You cannot go directly from RECORD to ONCE.
STACKOverdubs audio on an existing loop. Pressing it again stops the a
Existing audio is faded every time through the loop based on the setting of
Loopers MIX page.
UNDOThis removes the most recently recorded overdub. Undo remove
everything between when you pressed STACKto start overdub recording an
REVPressing this reverses the direction of the Looper. Playback and STA
HALFSlows the Loopers speed to half. Playback and normal or overdub
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Looper Trim Parameters
The"Trim" feature allows youto trim the start and end points of the loop.
or End and then turn the valuewheel to adjust the trim. Modifiers can be a
pressing when either is selected.
Looper Mix Parameters
The Looperhas a MIXpage with LEVEL, BALANCE,and BYPASS MODEparamet
SeeCommon Mix Parameterson p.116for more information.
5.17 Megatap Delay [MGT]
The Megatap Delayis a 2.5 second, 40-tap delay line with parametric control o
effect can be used to create interesting sonic patterns or to increase density
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UP / DOWNThe time between taps will increase and then
DOWN / UPThe time between taps will decrease and then
SINEThe time between taps will decrease and then increase
progression. Higher alpha increases the number of sine cycles
TIME ALPHASets the acceleration of the rate of time change across th
effect, while 100% results in an extreme effect.
Ex: Decreasing,Moderate Alpha
Ex: Decreasing,Higher Alpha
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BAL 1Sets the balance between left and right signals of the block in row
GAIN/BAL 2, 3, 4 These pairs of controls respectively set the level and
the blocks in rows 2, 3, and 4 of the column left of the mixer.
Page 2 Parameters
LEVELSets the level of the output mix.
OUTPUT MODESpecifies whether the outgoing mix should be stereo
Each Axe-Fx II preset can use two Mixerblocks. Note that on the Mark II, the m
5.19
Multiband Compressor [MBC]The Axe-Fx II contains a three-band compressor that is great for mastering or co
h i l idi i d d l l d d i l l
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RELRelease rate. Sets how long it takes for the level to return to normal
threshold. Slower times can cause the compressors gain reduction to rema
has given way to a quieter section.
LEVELSets the output level of the selected band.
DETDetermines whether the selected band will use RMS (Root Mean S
detection is smoother and is generally used to even out levels over a long p
commonly used with guitar, is useful for fast limiting.
MUTEMutes the output of the band. By muting two bands, you can sol
you can focus on its contribution to the overall mix.
5.20 Multi-Delay [MTD]
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MASTER FEEDBACKScales the feedback amounts of all taps or diffus
MASTER FREQScales the frequency values for the filters of all four tap
create dynamic filter effects by using a modifier to change this parameter i
values too high or too low, or the result will be difficult to hear.
MASTER PITCHScales the values for all shift parameters in the block.
MASTER DETUNEScales the values for all detune parameters in the b
MASTER QScales the Q values of all four taps from 0.110.0
MASTER RATEScales the rate of all LFOs in the block.
MASTER DEPTHScales all the depths of all LFOs in the block.
Mix Parameters
EFFECTS GUIDE
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TIME 1,2,3,4Sets the time when the selected tap will be heard, from 0
in parenthesis, it is being set automatically by the corresponding TEMPO pa
NONE for manual control.
LEVEL 1,2,3,4Sets the level at the output of the selected tap.
PAN 1,2,3,4Sets the pan for the selected tap in the stereo mix.
FEEDBACK 1,2,3,4Sets the level of the selected tap in the overall feed
the four feedback values cannot exceed 100%. Negative values phase inve
FREQ 1,2,3,4Sets the center frequency of the bandpass filter for the se
Q 1,2,3,4Sets the width of the bandpass filter for the selected tap. High
range of frequencies passing through.
DIFFUSION
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modulation, the result is a huge and lush-sounding space effect that can have q
all at once. The Plex Delayuses four delay lines.
Figure 5-19The Plex Delay Multi-Delay Type
EFFECTS GUIDE
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DUCKER REL TIMESets how long it takes for the delay signal to return
below the threshold. A short value here will cause the ducked echoes to re
stop playing. Longer times will cause the level to swell back gradually.
LFO 1 RATESets the rate of modulation. When RATE is shown in parentby the TEMPO parameter (see below). Set the TEMPOto NONE for manua
LFO 1 TEMPOSynchronizes the rate of the LFO in relation to the globa
LFO 1 DEPTH Sets the modulation depth. Increasing modulation adds a
Plex Detune5.20.3
The Plex Detuneis based on the Plex Delay (5.20.2above) but adds four high-q
+/- 50 cents to the output of the delay taps. Like the LFOs of the Plex Delay, the
effect tails rich with pitch variations With the following exceptions the Plex De
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audio. These are reversed (and possibly pitch-shifted) but are played back
recorded. The length of the snippets depends on the TIMEsetting of the ta
SHIFT 1,2,3,4This sets the amount of pitch shift applied at the output
semitones.
Band Delay5.20.5
The Band Delay, shown below, creates filter sweep echoes with a bandpass filte
parallel delay lines.
Figure 5-21The Band Delay Multi-Delay Type
EFFECTS GUIDE
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FDBK SENDSpecifies which delay output (14) should be tapped to fee
FDBK RETSpecifies which delay input (14) the feedback tap should be
FEEDBACKSets the amount of feedback from the send to the return.
Ten-Tap Delay5.20.7
The Ten-Tap Delayprovides a unique way to control the time, pan, and spacing
Instead of feedback, it uses an innovative DECAYcontrol to determine how the
time. The levels of individual delay taps can also be adjusted from -80 to +20 dB
change automatically as the taps progress.
MONO/STEREOSets the mode of the Ten-Tap Delay. In mono mode,
possible.
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Rhythm Tap Delay5.20.8
The Rhythm Tap Delayuses the same algorithm as the Ten-Tap Delay but allow
repeats. You can enter the rhythm in three ways:
1. By specifying milliseconds between each tap and the previous.
2. By specifying some number of quantized time units (divs) betwe
3. By tapping a rhythm with the button and the LEARNfuncti
The parameters for the Rhythm Tap Delay include those of the Ten-Tap Delay (
FEEDBACKSets the feedback level from the final repeat to the input of
conjunction with the decay to control the overall decay behavior. If you setmoderate value, the pattern will repeat, getting quieter each time through
QUANTIZE Quantizes the tap times to the entered note value This can
EFFECTS GUIDE
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Diffusor5.20.9
A diffuseruses feedback delays to increase density, smearing transients to cr
certain time and feedback settings, taps can be heard individually, but the diffu
blanket of sound. This algorithm chains four diffusors in series and controls theparameter.
MASTER FEEDBACKSets the feedback amount to determine density.
time settings, this determines the character of the effect and the amount o
LFO 1 RATESets the rate of modulation to add a chorus-like sound to t
LFO 1 TEMPOSynchronizes modulation to a rhythmic value in relation
LFO 1 DEPTH Sets the modulation depth to determine the intensity of
TEMPO 1 2 3 4 h d h h
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Figure 5-24The Pan/Tremolo Block
Parameters
EFF TYPEChooses between Tremolo and Panner.
EFFECTS GUIDE
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the change should affect neighboring frequencies. The bands include a selectab
and a selectable-type high filter. Select the desired band using the butto
required. A graphical display depicts the response, showing the effects of all fiv
Parametric EQ X/Y Channel Switching
Each instance of the PEQ block stores two fully independent sets of parameters
these allows you to change all block settingsinstantlyat the touch of a switc
Modifierassignments). SeeX/Y Switchingon p.36for more information.
Each Axe-Fx II preset can use four Parametric EQblocks.
ParametersFREQSets the center or cutoff frequency for the selected band.
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5.23 Phaser [PHA]
The Phase Shifter, or Phaser, works by cascading a series of all-pass filters and
with the input. This causes certain frequencies to be canceled or reinforced, cre
phase is shifted using a low-frequency oscillator (LFO), these peaks and notches
range to create the phasersdistinct, hollow, swooshing sound.
The phaser in the Axe-Fx II is extremely powerful. It allows two to 12 stages to b
negative feedback and a flexible, stereo LFO. It also offers a special mode to rec
astonishing accuracy.
Each Axe-Fx II preset can use two fully independent Phaserblocks.
EFFECTS GUIDE
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TONEA simple tone control for the Phaser effect (wet only).
FREQSets the start frequency of the first stage filter. This, in combinatio
the sweep range of the notches. This parameter is repeated as START FRE
(FREQUENCY is not used in the BARBERPOLE type.)
TEMPOSynchronizes the rate of the Phaser LFO in rhythmic relation to
the global tempo is 120 BPM, and TEMPOis set to a 1/4,the LFO rate wil
2). To ignore the global tempo set the tempo control to NONE. (Tempo is n
Advanced Parameters
(All BASIC controls of the Phaser except TYPEare duplicated on the ADVANCED
ORDERSets the number of phase shifting circuitsor stagesin incre
have distinctly different sound qualities For a more pronounced effect i
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5.24 Pitch Shifter [PIT]
Fractal Audios Intelligent Maximum-Likelihood Adaptive Real-Time (IMART) tec
polyphonic pitch shifting. Pitch shift technology creates an incredible range of e
based chorus to one-guitar orchestrations of complex harmony, to dive-bombin
The Axe-Fx II Pitch Shiftergives you all of these sounds and many more, with th
DetuneCreates chorus sounds with up to two detuned copies of the
Fixed HarmonyShifts two voices by a constant amount.
Intelligent HarmonyShifts two voices to another note in the selecte
Octave DividerSimulates the octave down effects of classic analog s
Classic WhammyShifts note(s) up and/or down 1-2 octaves with a cpedal or other controller.
Advanced WhammyExtends the Classic Whammy with custom rang
EFFECTS GUIDE
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Master Parameters
Several of the Pitch Shift types include MASTER parameters, detailed below.
MASTER PITCHScales the SHIFT setting for each of the voices. For exa
VOICE 2 SHIFTset to -12,and MASTER PITCHset to 50%,the shifts will be
MASTER DELAYScales all delay times in the block.
MASTER FEEDBACKScales all feedback controls in the block.
MASTER PANThe panning of each voice is multiplied by this value. A v
voice being panned as set in the individual pan controls. A value of 0% will
to center. A value of -100% will reverse the position of the voices. You can move the voices around the stereo field in real time.
AS L V L
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Detune5.24.1
The Detunesub-algorithm creates two voices that are detuned between -50 an
the input. This mode is useful for creating double-tracked sounds or chorus-like
Figure 5-27The Detune Pitch Shifter Type
EFFECTS GUIDE
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INPUT MODESpecifies whether the incoming signal should be process
diagram above) or summed to mono and then sent to both voices.
VOICE1 DETUNE, VOICE 2 DETUNESets the detune amount of the
VOICE1 SHIFT, VOICE2 SHIFTSets the shift amount of the voice in a
VOICE1 LEVEL, VOICE2 LEVELSets the volume level of the voice.
VOICE1 PAN, VOICE2 PANSets the panning of the voice.
VOICE1 DELAY, VOICE2 DELAYSets the delay time of the voice. W
parenthesis, it is being set automatically by a TEMPO parameter (see below
NONE for manual control.
VOICE1 DLYTEMPO, VOICE2 DLYTEMPOLocks the corresponding
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LEARNWhile learn is ON, the KEYparameter will automatically change t
Assign to a footswitch for modulations right in the middle of a phrase! Turn
harmonizer function.
SCALESets the scale or mode into which notes will be shifted.
TRACK MODESets how the harmony will track the input. SMOOTH allo
and vibrato in the input. STEPPED locks the harmony to the nearest chrom
GLIDE TIMESets the rate at which the harmony shifts from the one pit
played.
TRACKINGAllows fine-tuning the pitch shifter splice length. For large
improve the quality of the shifted note. TRACKING is the same as TRACK A
VOICE1 HARMONY, VOICE 2 HARMONY Sets the scale degree t
EFFECTS GUIDE
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NOTE 1,2,38These are the notes of your custom scale relative to the
scale degrees.
Scale Formulas
Here is a set of scale formulas for those scales used in the pitch shifters Intellig
modes. If scale names look slightly different from what youve learned, remem
does it take to name a Jazz scale? A: Well, lets see theres Bird, Yardbird, Zoize
Mouth, Dipper Mouth, Louisso thats TWO right there
SCALE TYPEDEGREES/FORMULA
1 2 3 4 5 6 7 8
IONIAN (MAJOR) 1 2 3 4 5 6 7
DORIAN 1 2 b3 4 5 6 b7PHRYGIAN 1 b2 b3 4 5 b6 b7LYDIAN 1 2 3 #4 5 6 7
MIXOLYDIAN 1 2 3 4 5 6 b7AEOLIAN (MINOR) 1 2 b3 4 5 b6 b7
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Classic Whammy5.24.4
The whammy, first introduced in 1991, is a relative newcomer to the field of gu
brings all of the expected sounds to the Axe-Fx II. Its CONTROL parameter is des
using a modifier (p.123), typically assigned to some source controlled by a pedWhammy (p.99)this type has only a few combinations of octave up/octave do
Parameters
MODESelects the Whammy mode:
UP 1 Octave
DOWN 1 octave
UP 2 Octaves DOWN 2 octaves
UP/DOWN 1 Octaves
EFFECTS GUIDE
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Crystals5.24.6
The CrystalsPitch Shifter is similar to the Fixed Harmonymode (p.93)but is de
features much longer possible splice times inside the shifter, reverse shifting,
architecture.
Figure 5-32The Crystals Pitch Shifter Type
F k f l i h C l l i h li i d il d b
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For sake of explanation, the Crystal algorithm splicing parameters detailed be
which they appear on the display of the Axe-Fx II.
VOICE1 SPLICE, VOICE2 SPLICEPitch shifting breaks a signal into pi
manipulated individually and then spliced back together. This parametermilliseconds.
VOICE1 SPLTEMPO, VOICE1 SPLTEMPOSets splice time in rhythm
DIRECTIONDetermines whether the processed granules are played ba
understand how reverse works, imagine a word whose individual letters ha
in the correct left-to-right order ( ). The length of the snippets dep
CROSSFADESets the amount of overlap in the audio granules. A low se
discrete, while a high setting will tend to blend splices together.
EFFECTS GUIDE
i2 8
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Arpeggiator5.24.8
The Arpeggiator uses a 32-step sequencer to control the shift amount of a harm
patterns can be created from a single note. Arpeggios intelligently transpose
you play different notes. So, in the key of C (Ionian) Major, the note C naturalbut the note D natural will arpeggiate as D-F-A (d minor).
Figure 5-34The Arpeggiator Pitch Shifter Type
STAGE 1 2 3 16 SHIFT k b d ll l d f
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STAGE 1, 2, 316 SHIFTTricky but ideally implemented for maximu
number of scale degrees that each note of the arpeggiator will be shifted a
Lets look at the example of a four-stage arpeggio with values of 0, 2, 4, an
comfort, with a scale type of IONIAN (MAJOR). When we play a C, the arpe
because:
C + 0 scale degrees = C
C + 2 scale degrees = E (CD,E)
C + 4 scale degrees = G (CD,E, F, G)
C + 7 scale degrees = C (CD,E, F, G, A, B, C)
Remember that the notes of the arpeggios and the steps required to
from the current key/scale. Scales with more or fewer than seven notes in tone, custom, etc.) can require some mental math, and its sometimes easi
Ti B h i h CHROMATIC l h i
EFFECTS GUIDE
5 25 Q d Ch [QCH]
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5.25Quad Chorus [QCH]
The Quad Choruswas designed to enable sounds beyond those of the legendar
80s session player clean sound. It takes time to set up, but your efforts will be r
liquid chorus sounds. It is a four-voice chorus with a powerfully complex modu
Each Axe-Fx II preset can use two fully independent Quad Chorusblocks.
Chorus Unit Parameters
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Chorus Unit Parameters
Each chorus unit has an identical set of parameters.
TIMESets the minimum time delay of the selected chorus voice. All mod
LEVELSets the output level of the selected chorus voice.
PANSets the panning of the selected chorus voice in the stereo field.
DEPTHSets the modulation depth for the selected chorus voices MORP
The depth of LFO 4 is set for all voices simultaneously via the MAIN DEPTHp
LFO MORPHThis parameter taps any one, or a blend of any two, of LF
modulation source for the current voice. The scale below shows how the p
the LFOs. A value of 0% taps only LFO1, while 75% would be an even blend
EFFECTS GUIDE
5 26 R t [RES]
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5.26 Resonator [RES]
The Resonatorconsists of four resonant comb filters in
parallel. By tuning the comb filters, a metallic or resonant
timbre can be achieved from normally non-musical signals.
The Resonator works best on transient signals like speech or
percussion but can also be used to add unique character to
musical inputs.
In series with each comb filter is a bandpass filter tuned to
the same frequency. These filters can be placed before or
after the comb filters. They are shown in the afterposition
in the diagram to the right.
E h A F II t t f ll i d d t R t bl k
FigSh
Resonator Mix Parameters
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Resonator Mix Parameters
The Resonatorblock has a MIXpage with MIX, LEVEL, BALANCE, BYPASS MODE,a
SeeCommon Mix Parameterson p.116for more details on these.
5.27
Reverb [REV]
Aside from distortion, no effect has been more important to the electric guitar
guitar amplification, guitarists in small spaces yearned for the sounds their amp
Early simulators incorporated metal springs and plates, but as with delay proce
truly revolutionized by digital technology. The Axe-Fx II is one of the finest you
lush, and dense, with the ability to emulate real spaces, vintage springs, classic
Each Axe-Fx II preset can use two fully independent Reverbblocks.
EFFECTS GUIDE
TIME Sets the decay time This is the amount of time it takes for the rev
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TIMESets the decay time. This is the amount of time it takes for the rev
perception. This is also known as the t60time, referring to the amount o
decay to 0.001 of its initial value (-60 dB).
INPUT GAINSets input level into the reverb. Primarily for use with a pe
Send to the reverb (allowing reverbto ring out even after the pedal is pu
should normally be set to 100%.
MIX and LEVELare duplicated from the MIX page.
Advanced Parameters
TYPE, TIMEDuplicated from the BASIC page (p.105).
SIZESets the size of the space or spring. This controls the length of time
between virtual surfaces. Higher settings increase the echo time and the d
MOD DEPTH MOD RATE These parameters controls modulation in
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MOD DEPTH, MOD RATE These parameters controls modulation in
similar to chorusing. Modulation helps fill out the soundstage and makes th
pitched instruments like drums, modulation may be undesirable. (Set dept
modulation, turn the mix to max, adjust depth and rate, and then re-set th
MIC SPACINGSets the stereo width of early reflections by simulating m
STEREO WIDTHDetermines the overall stereo separation of the rever
NUMBER SPRINGSWhen the TYPEis set to SPRING,this sets the nu
SPRING TONEWhen the TYPEis set to SPRING,this changes the char
aspects of the simulation. Lower values create a darker tone.
SPRING DRIVEThis simulates overdriving the circuit of the reverb whe
Reverb EQ Parameters
EFFECTS GUIDE
Parameters
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Parameters
FREQSets the frequency of the oscillator.
FMULTSets the frequency multiplier for the oscillator. The actual oscilla
multiplied by the FMULTvalue.
TRACKWhen this is set to ON,the frequency of the oscillator tracks t
is then the pitch multiplied by the FMULT value.
HICUTSets the cutoff frequency of a low-pass filter on the output.
Ring Modulator Mix Parameters
The Ring Modulator blockhas a MIXpage with MIX, LEVEL, BALANCE, BYPASS MO
SeeCommon Mix Parameterson p.116for more details on these.
ROTOR LENGTH This parameter adjusts the length of the virtual high-
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ROTOR LENGTH This parameter adjusts the length of the virtual high
increase the amount of Doppler shift and result in a more intense effect.
LOW RATE MULTIPLIERAdjusts the speed of drum rotation compare
at the value set for TEMPO, above).
LOW TIME CONSTANT, HI TIME CONSTANT Sets acceleration/de
LF MIC SPACING, HF MIC SPACING These sets the placement of t
determining the stereo width of the effect. Setting LF to zero (default) simu
drum.
DRIVEGive your virtual rotary speaker the grind of the classic power am
The Rotary Speaker has MIX, LEVEL, BALANCE,and BYPASS MODE controls. SeeCo
EFFECTS GUIDE
LEVEL Controls the output level of the oscillator.
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LEVEL Controls the output level of the oscillator.
PANControls the panning of the oscillator.
FILTERSets the cutoff frequency of a low-pass filter after the oscillator.
QSets the Q or resonance of the post-oscillator filter.
ATTACKSets the attack time of the envelope follower on the input.
Synth Mix Parameters
The Synth block has a MIXpage with MIX, LEVEL, BALANCE, BYPASS MODE,and G
SeeCommon Mix Parameterson p.116for more details on these.
AVG TIMEDetermines how long of a time window is used when analyz
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g y
AMOUNTScales the Tone Match effect from full to flat, determining th
MODESelects between OFFLINE and LIVE modes. Use LIVE mode when
REFERENCE amps at the same time.
SMOOTHINGThis reduces the prevalence of peaks and valleys in the I
RESOLUTIONNormally, you'll run this in HIGH mode. To save CPU, cha
50% of the match resolution but can still sound great.
Tone Matching Mix Parameters
The PROCESS pagealsohas LEVEL, BALANCE,and BYPASS MODEparameters.
SeeCommon Mix Parameterson p.116for more information.
EFFECTS GUIDE
HPMIXSets the amount of high-pass filtered signal to mix in with the sy
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g p g y
increase the intelligibility of the vocoding by allowing certain consonants a
ATTSets attack filter time for the envelope followers.
RELSets release filter time for the envelope followers.
FREEZETurning this to ON freezes the output of the envelope followers
formant.
MASTER LEVELSets the master level for all the synthesis filter outputs
MASTERPANSets master panning for all the synthesis filter outputs. I
levels and panning is provided on dedicated menu pages. You can use thesbank response and control the panning of the filter outputs.
LEVEL 1 16
LEVELSets the output level of the block independent of the setting for t
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5.34 Wahwah [WAH]
From Jimi Hendrix's Voodoo Chileto, well, Stevie Ray Vaughan's Voodoo Chiplace in the annals of rock history. The Axe-Fx II Wahwahis the embodiment of
reliability and control and a smoooothfeel.
A wah is actually a very straightforward device. The signal is passed through a r
controlled by a pedal. The Wahwah may be placed before distortion for a subtl
for a more prominent and aggressive sound.
The wah is stereo-in/stereo-out.
Each Axe-Fx II preset can use two fully independent Wahwah blocks.
EFFECTS GUIDE
TRACKSets the Qtracking of the filter. As the frequency is increased,
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an amount proportional to this value. If this is zero, the resonance of the fi
frequencies. Classic wah pedals usually have a resonance that decreases w
limitations. This control can be used to mimic those pedals.
CONTROLSets the position of the wah. Normally you would use a MOD
real-time control, but simply dialing it in will give you a parked wah soun
5.35 Input Noise Gate
Every Axe-Fx II preset includes a built-in Noise Gateconnected directly to the
parameters, press and turn to the INPUT/GTE page.
The Noise Gate is always active but can be defeated by turning the THRESH cont
your guitar. This recreates the way that some classic effects (e.g. Vibe) load do
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in frequency response. The Axe-Fx II recreates this effect by switching various (
out of the signal path.
In Automode, the impedance is automatically set based on the first active effe
Normally you will want to leave this on AUTO, but you may also select any of th
setting is saved with the preset.
1M
1M+ Capacitor
230k
230 k+ Capacitor
90 k 90 k+ Capacitor
70 k
70 k+
32 k
32 k+
22 k 22 k+
EFFECTS GUIDE
5.37 Common Mix Parameters
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Almost every block in the Axe-Fx II has a MIXpage with parameters to determi
contributes to the overall preset sign